THE  METROPOLITAN 
MUSEUM  OF  ART 


CATALOGUE  OF  THE 
COLLECTION 
OF  CASTS 


“ t 


CATALOGUE  OF  THE 
COLLECTION 
OF  CASTS 


Digitized  by  the  Internet  Archive' 
in  2015 


/ 


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https://archive.org/details/catalogueofcolle00metr_2 


THE  METROPOLITAN 
MUSEUM  OE  ART 


CATALOGUE  OF  THE 
COLLECTION 
OF  CASTS 


NEW  YORK 

PRINTED  FOR  THE  MUSEUM 
MCM  VII I 


COPYRIGHT,  1908 


BY  THE  METROPOLITAN  MUSEUM  OF  ART 


f n JWemoriatn 

HeDt  i^ale  (DQillatD 
SDifi)  1883 

©eorgc  axaagftington  Cullom 

2t)ic0  1892 

3IoJ)n  Caglor  Johnston 
®iea  1893 

®)cntp  (SotDon  ^atquanD 

2I>iED  1902 

(Generous  ®onors 
to  t|)e  Collection  of  Casts 


PREFACE 


The  following  catalogue  has  been  prepared  under  the  super- 
vision of  the  Assistant  Director  of  the  Museum.  The 
Egyptian  section  is  by  Albert  M.  Lythgoe,  A.M.,  Curator 
of  Egyptian  Art;  the  Oriental  and  Greek  and  Roman  sec- 
tions are  by  Gisela  M.  A.  Richter,  M.A.,  Assistant  in  the  Depart- 
ment of  Classical  Art;  and  those  of  all  post-classical  periods  by  Ethel 
A.  Pennell,  of  the  cataloguing  staff  of  the  Museum.  The  object  of  the 
book  is  merely  to  provide  students  of  the  collection  with  a handbook 
in  which  they  will  find  each  cast  accurately  identified,  with  the  brief- 
est possible  statement  of  the  subject  and  date  of  the  original,  the  place 
where  it  is  at  present,  and  the  artist,  school,  or  period  to  which  it 
belongs.  Doubtless  a more  extended  account  or  discussion  of  the 
qualities  of  many  of  the  works,  and  their  significance  in  the  history 
of  art,  would  have  been  desirable,  but  the  size  of  the  collection  and 
the  immediate  need  of  a complete  catalogue  of  it,  including  the 
architectural  as  well  as  the  sculptural  casts,  have  prevented  such 
an  undertaking,  at  least  for  the  present.  Consequently  this  has 
not  been  attempted  except  in  connection  with  a few  monuments 
of  the  first  importance,  such  for  example  as  the  Parthenon.  In  the 
Greek  and  Roman  section  a statement  of  the  restorations,  com- 
piled from  the  most  careful  authorities,  has  been  added  where 
sculptures  have  been  restored,  as  it  is  often  of  importance  to  stu- 
dents to  have  these  pointed  out;  and  in  the  same  section  each  sub- 
division opens  with  an  Introduction  giving  a brief  resume  of  the 
period  or  the  characteristics  of  the  sculptures  that  are  included 
in  it.  For  further  or  more  detailed  information  regarding  any  spe- 
cific work,  the  student  is  recommended  to  consult  the  reference  or 
references  cited  in  connection  with  it,  and  also  the  bibliography  at 


VI 


PREFACE 


the  beginning  of  the  book,  which  has  been  prepared  by  the  respec- 
tive authors,  especially  with  a view  to  the  needs  of  teachers  and 
advanced  students. 

As  a rule,  but  one  reference  has  been  given  in  connection  with 
each  cast,  this  being  selected,  where  a choice  was  possible,  as  the 
most  useful  to  those  for  whom  the  book  is  primarily  intended. 
Where  scientific  catalogues  of  collections  exist,  preference  has  gen- 
erally been  given  to  them  rather  than  to  more  elaborate  essays, 
because  they  state  the  facts  or  theories  regarding  the  sculptures 
with  which  they  deal  in  a succinct  and  easily  accessible  form,  and 
they  also  contain  a list  of  references  or  earlier  publications  through 
which  a given  subject  may  be  pursued  by  those  in  search  of  further 
material  in  regard  to  it. 

In  introducing  illustrations  into  the  book,  the  purpose  has  been 
not  to  give  pictures  of  the  casts  themselves,  as  good  illustrations 
of  the  more  interesting  originals  may  be  readily  found  in  popular 
histories  of  art,  but  to  heighten  interest  in  the  collection  as  a whole, 
and  in  the  arts  which  it  represents,  by  showing  some  of  the  orig- 
inals in  their  proper  settings,  either  as  they  appear  now,  or  by  res- 
torations of  monuments  which  have  disappeared,  or  by  illustrating 
the  conditions  under  which  they  were  discovered.  Thus  the  visitor 
will  find  it  of  interest  to  turn  from  the  restored  pediments  of  the 
Temple  of  Zeus  at  Olympia,  at  the  two  ends  of  the  large  hall,  and 
see  in  Plate  VI 1 all  that  remains  to-day  of  the  building  they  once 
decorated.  And  with  the  interest  which  has  been  aroused  in  Her- 
culaneum during  the  last  few  years,  the  plan  of  its  famous  villa, 
still  buried,  showing  where  each  of  its  bronzes  was  found  in  the 
eighteenth  century,  will  prove  of  value.  Only  two  of  the  casts 
of  the  collection  are  here  reproduced — the  models  of  the  Parthenon 
and  the  Pantheon — and  these  are  included  because  of  their 
importance  and  also  because  the  models  themselves  are 
unique. 

The  arrangement  of  the  collection  unfortunately  leaves  much 
to  be  desired,  but  for  the  present  this  shortcoming  is  unavoidable, 
owing  to  the  inadequacy  of  space  in  the  galleries  into  which  it  is 
necessarily  crowded,  as  well  as  the  poor  conditions  of  light  and  lim- 
itations of  wall-surface  in  these  galleries.  Until  a further  extension 


PREFACE 


Vll 


of  the  building  shall  afford  the  proper  quarters  for  the  installation 
of  the  collection,  a more  systematic  or  effective  arrangement  is  not 
possible;  and  hence  the  visitor  who  makes  use  of  this  catalogue  will 
occasionally  be  subjected  to  the  annoyance  of  finding  casts  that 
are  described  in  connection  with  one  another  separated  by  consid- 
erable intervals,  and  sometimes  even  by  several  rooms.  So  far  as 
practicable  this  annoyance  has  been  averted  by  a partial  rearrange- 
ment of  the  collection,  in  connection  with  the  preparation  of  the 
catalogue,  but  the  result  is  by  no  means  as  satisfactory  as  could 
be  wished. 

The  history  of  the  collection  is  as  follows.  Its  foundation  was 
laid  upon  a splendid  scale  by  Levi  Hale  Willard,  who  upon  his 
death,  in  1883,  bequeathed  to  the  Museum  a large  sum  for  “the 
purchase  of  a collection  of  models,  casts,  photographs,  and  other 
objects  illustrative  of  the  art  and  science  of  architecture.”  In 
accordance  with  the  terms  of  his  will  this  collection  was  made  under 
the  direction  of  a commission  chosen  by  the  New  York  chapter  of 
the  American  Institute  of  Architects,  and  consisting  of  Napoleon 
Le  Brun  (nominated  by  the  testator),  A.  J.  Bloor,  and  Emlen  T. 
Littell.  Pierre  Le  Brun  was  appointed  its  Purchasing  Agent.  Its 
work  of  collecting  continued  until  1894,  when  its  final  report  was 
made  to  the  Trustees  of  the  Museum.  During  that  time  it  brought 
together  nearly  all  the  architectural  casts  that  are  now  exhibited 
in  the  large  hall,  including  the  rich  assortment  of  details  of  all  styles 
and  periods,  the  full-sized  sections  of  the  Parthenon,  the  temple 
of  Vespasian  and  other  Roman  temples,  the  cast  of  the  Monument 
of  Lysikrates,  and  the  models  of  the  Hypostyle  Hall  at  Karnak, 
the  Parthenon,  the  Pantheon,  and  the  Cathedral  of  Notre-Dame, 
Vv'hich  were  made  expressly  for  this  collection,  under  the  direction 
of  Charles  Chipiez,  by  A.  Joly,  of  Paris. 

The  collection  of  sculptural  casts  was  not  begun  until  1886, 
when  Henry  G.  Marquand  gave  a fund  for  the  beginning  of  such  a 
collection,  being  of  the  opinion,  as  he  stated  in  a letter  accompany- 
ing his  gift,  that  it  was  the  greatest  need  of  the  Museum  at  that  time. 
A considerable  number  of  the  casts  from  Greek  and  Roman  sculp- 
ture were  purchased  with  his  gift;  and  a few  years  later  certain 


Vlll 


PREFACE 


friends  of  the  Museum,  including  several  of  its  Trustees,  determined 
to  develop  the  collection  upon  a large  scale,  by  funds  to  be  raised 
by  private  subscription.  For  this  purpose  a special  committee  was 
organized,  under  the  authority  of  the  Trustees,  at  the  beginning 
of  the  year  1901.  This  committee  consisted  of  Henry  G.  Mar- 
quand,  chairman,  Edward  D.  Adams,  George  F.  Baker,  Robert  W. 
de  Forest,  John  S.  Kennedy,  Pierre  Le  Brun,  Howard  Mansfield, 
Allan  Marquand,  A.  C.  Merriam,  F.  D.  Millet,  F.  W.  Rhinelander, 
Augustus  Saint-Gaudens,  Louis  C.  Tiffany,  J.  Q.  A.  Ward,  William 
R.  Ware,  and  Stanford  White.  The  undersigned  was  appointed 
its  Purchasing  Agent.  The  appeal  for  subscriptions  met  with  a 
liberal  response,  and  under  the  direction  of  the  committee  the  col- 
lection grew  rapidly  during  the  next  four  years,  the  committee  re- 
ceiving its  discharge  in  May,  1895. 

While  the  labors  of  this  committee  were  in  progress  the  Museum 
received  two  bequests  which  were  of  especial  benefit  to  the  collec- 
tion. The  first  was  that  of  George  W.  Cullom,  who  died  in  Novem- 
ber, 1891,  leaving  it  a fund  “with  which  to  furnish  casts  of  famous 
statuary  and  works  of  architecture,  to  be  known  as  the  Cullom 
Collection.”  The  second  was  a legacy  from  John  Taylor  Johnston, 
to  which  were  added  a large  subscription  made  by  him  before  his 
death,  in  1893,  for  the  work  of  the  special  committee,  and  a further 
sum  contributed  by  his  children,  in  order  to  make  the  total  thus 
given  sufficient  to  pay  for  all  the  casts  of  the  Italian  Renaissance 
period  ordered  under  the  direction  of  the  committee,  and  to  pro- 
vide for  the  maintenance  and  growth  of  this  branch  of  the  collec- 
tion, upon  the  understanding  that  it  should  be  known  as  the  John 
Tayloi  Johnston  Memorial  Collection. 

Another  valuable  contribution  to  the  undertaking  of  the  same 
committee  was  the  gift  of  its  treasurer,  Edward  D.  Adams,  of  a 
complete  series  of  reproductions,  in  bronze,  of  the  bronze  sculp- 
tures found  in  the  villa  at  Herculaneum  referred  to  above,  the  orig- 
inals of  which  are  now  in  the  Museum  of  Naples.  These  are  de- 
scribed in  a special  section  of  the  catalogue. 

In  1895  the  collection  of  casts  attained  practically  its  present  size, 
and  the  space  which  could  be  given  to  it  in  the  Museum  was  already 
more  than  comfortably  filled.  The  most  notable  additions  which 


PREFACE 


ix 


have  been  made  since  that  time  are  the  Colleoni  statue,  and  the 
reproductions  of  objects  found  in  Crete  in  recent  years,  the  latter 
forming  the  beginning  of  what  it  is  hoped  may  become  an  important 
representation  of  the  art  of  prehistoric  Greece. 

Edward  Robinson, 

Assistant  Director. 

New  York,  July,  1908. 


CONTENTS 


PAGE 


Preface  v 

Table  OF  Contents xi 

List  OF  Illustrations  - xv 

Bibliography xvii 

EGYPTIAN  ART 

Miscellaneous  Egyptian  Works 3 

ORIENTAL  ART 

Chaldaean 13 

Assyrian  - --  -- 

Persian 17 

Cypriote  and  Phoenician 20 

GREEK  AND  ROMAN  ART 

PREHISTORIC  ART  IN  GREECE 
Casts  and  Other  Reproductions  of  Prehistoric  Art  - 25 

GREEK  AND  ROMAN  SCULPTURE 

Archaic  Period  (Seventh  century  to  about  480  B.  C.)  - - 35 

Schools  of  Asia  Minor  and  the  Aegean  Islands  - - 37 

Schools  of  Greece  proper  (excluding  Attica),  the  ad- 
jacent islands,  Magna  Graecia,  and  Sicily  - - "43 

The  Attic  School  "49 

Transitional  Period  (about  480-450  B.  C.)  - - - 52 

The  Great  Period  (about  450-380  B.  C.)  - » - - 60 

The  Parthenon  - --  --  =.--61 

Sculptures  from  other  Temples  in  Attica  and  elsewhere  - 71 

Sculptures  illustrating  the  Style  of  Myron  - - - 74 


CONTENTS 


XI 1 


PAGE 

Sculptures  showing  the  characteristics  of  the  Attic 
School  of  the  Period  ------  -75 

Sculptures  related  to  Polykleitos  and  his  School  - 78 

Miscellaneous  Sculptures  of  the  Period  - - - 81 

Grave  Monuments  of  the  Fifth  and  following  Cen- 
turies   -__85 

The  Period  of  Praxiteles,  Skopas,  and  Lysippos  - 97 

The  Transition  between  the  School  of  Pheidias  and  that 
of  Praxiteles  - --  --  --  -98 

Sculptures  related  to  Praxiteles  and  his  School  - - 99 

Sculptures  illustrating  the  Style  of  Skopas  - - - 104 

Sculptures  illustrating  the  Style  of  Lysippos  - - 106 

Miscellaneous  Sculptures  of  the  Period  - - - - 107 

Portraits  of  the  Period  - - - - - - 

Hellenistic  Period  (from  the  Death  of  Alexander,  323 

B.  C.,  to  the  Fall  of  Egypt,  30  B.  C.)  - - - 116 

Sculptures  of  the  School  of  Pergamon  - - - .117 

Miscellaneous  Sculptures  of  the  Period,  excluding 

Portraits - - -121 

A:  Groups  and  Statues  - ^ - - - - 121 

B:  Heads  - --  --  --  - 128 

C:  Reliefs 130 

Portraits  - - - - - - - - -135 

Votive  Reliefs  of  various  Periods,  illustrating  religious 

Customs  of  the  Greeks - 138 

Roman  Period  (First  Century  B.  C.-Fourth  Century  A.  D.)  143 

Statues  other  than  Portraits  -----  1^4 

Reliefs  - - - - - - - - - M5 

Portraits  - - - - - - - - - i49 

Archaistic  Sculptures  - - - - - - - i54 

Miscellanea  - - - - - - - -156 

The  Adams  Collection  of  Herculaneum  Bronzes  - 161 

Statuettes  and  other  objects  -----  168 

Archaic  Period  - - - - - - - -168 

Later  Periods,  classified  according  to  types  - - 171 


CONTENTS 


Xlll 


GREEK,  ETRUSCAN  AND  ROMAN  ARCHITECTURE 

PAGE 

Archaic  Greek  and  Etruscan i8o 

Greek,  Fifth  and  Fourth  Centuries  B.  C.  - - - i8i 

Fate  Greek  - --  --  --  --  i88 

Roman  190 

EARLY  CHRISTIAN  ART 

Miscellaneous  Early  Christian  Works  - - - 207 

BYZANTINE  ART 

Miscellaneous  Byzantine  Works  -----  208 

ROMANESQUE  ART 

Italian  - --  --  --  --  - 210 

French  --  - - - - - - - -211 

German --_  214 

Flemish  217 

English  - --  --  --  --  - 217 

Saxon  - - - - - - - - -217 

Norman  - --  --  --  --  218 

SCANDINAVIAN  ART 

Norwegian  - --  --  --  --  220 

Icelandic  - --  --  --  --  221 

SARACENIC  ART 

Arabian  - --  --  --  --  - 222 

Hispano-Moresque  - - - --  --  - 225 

GOTHIC  ART 

French  ----------  229 

Italian  - --  --  --  --  - 237 

German  - - - - - - - - -241 

Flemish - 242 

English - 243 

Spanish  - - 247 


XIV 


CONTENTS 


RENAISSANCE  ART 

RENAISSANCE  ARCHITECTURE  AND  ORNAMENT 

PAGE 

Italian  - 253 

French  ----------  257 

German  - - - - - - - - - - 265 

Flemish  - --  --  --  --  - 268 

English  - --  --  --  --  - 270 

Russian  - --  --  --  --  - 270 

RENAISSANCE  SCULPTURE 

Italian  - 272 

Tuscan  School  --------  272 

Lombard  School  -------  298 

Roman  School  - --  --  --  - 300 

Venetian  School  -------  - 301 

French  305 

Seventeenth  and  eighteenth  centuries  - _ - 309 

German 

Flemish  316 

Modern  Sculpture  317 

Index  by  Places 321 


General  Index 


344 


LIST  OF  ILLUSTRATIONS 


FACING 

PLATE  PAGE 

I The  Model  of  the  Parthenon,  restored-  - title 
II  Plan  of  the  Galleries  of  Casts  -----  i 

III  The  Palace  of  Darius  at  Persepolis,  restored  i8 

IV  The  Ruins  of  the  Palace  at  Knossos  in  Crete  - 28 

V The  Harpy  Tomb  in  its  present  condition  - - 40 

VI  The  Inscription  of  Gortyna  in  situ  - - - - 50 

VII  The  Ruins  of  the  Temple  of  Zeus  at  Olympia  - 58 

VIII  A Corner  of  the  Parthenon,  restored-  - - 62 

IX  The  Nereid  Monument,  restored 74 

X  The  Ruins  of  the  Heraion  at  Olympia  - - 100 
XI  A Corner  of  the  Temple  of  Artemis  at  Ephesos, 

RESTORED  - --  -- __Io6 

XII  The  Mausoleum  at  Halikarnassos,  restored  - 108 

XIII  The  Great  Altar  at  Pergamon,  restored-  - 120 

XIV  The  Sitting  Boxer,  as  discovered  - - - - 128 

XV  Plan  of  the  Villa  at  Herculaneum-  - - - 161 

XVI  The  Doric  and  Ionic  Orders  compared-  - - 180 

XVII  The  Model  of  the  Pantheon,  restored  - - 190 
XVIII  The  Cloister  of  San  Giovanni  in  Laterano, 

Rome -----210 

XIX  The  Church  at  St.  Gilles - - 212 

XX  The  Central  Porch  of  Amiens  Cathedral  - - 230 
XXI  The  Nave  of  Laon  Cathedral  ------  232 

XXII  The  Central  Doorway  in  Rheims  Cathedral  - 234 
XXIII  Orcagna’s  Tabernacle  in  Florence  - - - - 238 


XVI  LIST  OF  ILLUSTRATIONS 

FACING 

PLATE  PAGE 

XXIV  Window  on  the  Palazzo  Cancelleria,  Rome  - 256 
XXV  Choir  Stalls  from  the  Chateau  of  Gaillon  - 260 
XXVI  Donatello’s  Altar  in  Sant’  Antonio,  Padua  - 278 
XXVII  Singing  Gallery  BY  Donatello,  Florence  - -280 
XXVIII  Donatello’s  Pulpit  ON  Prato  Cathedral  - -282 
XXIX  Michelangelo’s  Design  for  the  Tomb  of  Julius 

II-------- 284 

XXX  The  Doorway  of  San  Petronio,  Bologna  - - 290 

XXXI  The  Ospedale  del  Ceppo,  Pistoia 292 

XXXII  The  Visconti  Tomb  at  Pavia 300 

XXXIII  The  Fountain  of  the  Innocents,  Paris  - - - 304 


BIBLIOGRAPHY 


NOTE 

THE  BIBLIOGRAPHY  HERE  GIVEN  IS  NOT  INTENDED  TO  BE  EXHAUS- 
TIVE, BUT  HAS  BEEN  PREPARED  WITH  A VIEW  TO  PROVIDING 
STUDENTS  Vn/ITH  A LIST  OF  THE  MORE  IMPORTANT  BOOKS 
ON  THE  SCULPTURE  AND  ARCHITECTURE  OF  THE 
PERIODS  REPRESENTED  IN  OUR  COLLECTION  OF 
CASTS,  INCLUDING  BOTH  GENERAL  HISTOR- 
IES AND  MONOGRAPHS  ON  INDIVIDUAL 
MONUMENTS  OR  ARTISTS. 

EGYPT 

Breasted,  J.  H.  History  of  Egypt.  New  York,  1905. 

Erman,  a.  Life  in  Ancient  Egypt,  translated  by  H.  M.  d'irard. 
London,  1894. 

Maspero,  G.  Manual  of  Egyptian  Archaeology,  translated  by  A. 
B.  Edwards.  5th  edition.  London  and  New  York,  1902. 

Perrot,  G.,  et  Chipiez,  C.  Histoire  de  Vart  dans  Vantiquite, 
1.  Paris,  1882. 

History  of  Art  in  Ancient  Egypt:  translation  of  the  above  by 
W.  Armstrong.  2 vols.  London,  1883. 

Petrie,  W.  M.  Llinders  (editor).  A History  of  Egypt.  Vols.  I- 
III,  Lrom  the  Earliest  Times  to  the  end  of  the  XXXth 
Dynasty,  by  the  Editor;  London,  1899-1905.  Vol.  IV, 
Under  the  Ptolemaic  Dynasty,  by  J.  P.  Mahaffy;  l^ondon, 
1899.  Vol.  V,  Under  Roman  Rule,  by  J.  G.  Milne;  London, 
1890.  Vol.  VI,  In  the  Middle  Ages,  by  S.  Lane- Poole;  Lon- 
don, 1901. 

Wiedemann,  A.  Religion  of  the  Ancient  Egyptians.  London, 
1097. 


THE  ORIENT 


Babelon,  L.  M anual  of  Oriental  .Antiquities.  (English  edition). 
New  York,  1889. 


XVlll 


BIBLIOGRAPHY 


Dieulafoy,  M.  L'Art  antique  de  la  Perse.  5 vols.  Paris, 
1884-89. 

U A cropole  de  Suse.  Paris,  1890-92. 

Flandin,  E.,  et  Coste,  P.  Perse  ancienne.  i vol.  of  text,  4 vols. 
of  plates.  Paris. 

Layard,  a.  H.  The  Monuments  of  Nineveh.  2 vols.  London,  1853. 
Nineveh  and  its  Remains.  2 vols.  London,  1849. 

Perrot,  G.,  et  Chipiez,  C.  Histoire  de  V art  dans  Vantiquite. 
Vols.  II,  III,  V.  Paris,  1884-90. 

Place,  V.  Ninive  et  V A ssyrie.  3 vols.  Paris,  1867-70. 

Sarzec,  E.  de.  Decouvertes  en  Chaldee.  Paris,  1885-91. 

Stolze,  F.  Persepolis.  2 vols.  Berlin,  1882. 

GREECE  AND  ROME 

PREHISTORIC  GREECE 

Burrows,  R.  M.  The  Discoveries  in  Crete.  London,  1907. 

Dorpfeld,  W.  Troja  und  Ilion.  Athens,  1902. 

Drerup,  E.  Homer.  Die  Anfdnge  der  hellenischen  Kultur. 
Munich,  1903. 

Evans,  A.  J.  Cretan  Dictographs. 

Mycenaean  Tree  and  Pillar  Cult.  (Reprinted  from  the 
Journal  of  Hellenic  Studies,  XXI,  1901,  pp.  loiff.). 
Prehistoric  Tombs  of  Knossos.  London,  1906. 

Furtwangler,  a.,  und  Loschke,  G.  Mykenische  Thongefdsse. 
Berlin,  1879. 

Mykenische  V asen.  2 vols.  Berlin,  1886. 

Hall,  H.  R..  The  Oldest  Civilisation  of  Greece.  London  and 
Philadelphia,  1901. 

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GREECE  AND  ROME 


XIX 


Mosso,  A.  The  Palaces  oj  Crete  and  their  Builders.  New  York 
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Murray,  G.  The  Rise  of  the  Greek  Epic.  Oxford,  1907. 

Noack,  F.  Homerische  Paldste.  Leipzig,  1903. 

Perrot,  G.,  et  Chipif.z,  C.  Histoire  de  Part  dans  Vantiquite. 
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Ridgeway,  W.  The  Early  Age  of  Greece.  Vol.  I.  Cambridge, 
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ScHLiEMANN,  H.  lUos.  New  York,  1881. 

.Mycenae  and  Tiryns.  London,  1878. 

Tiryns.  New  York,  1885. 

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The  final  publications  of  the  various  Cretan  excavations  have 
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following  periodicals: — 

Annual  of  the  British  School  of  Athens,  from  1899.  (Accounts  of 
the  English  excavations  at  Knossos,  Praesos,  Palaikastro 
and  Zakro). 

Monumenti  antichi  pubblicati  per  cur  a della  reale  Accademia  dei 
Lincei,  from  1901.  (Accounts  of  the  Italian  excavations  at 
Phaestos  and  Hagia  Triada). 

Transactions  of  the  Department  of  Archaeology  of  the  University 
of  Pennsylvania.  (Accounts  of  the  American  excavations 
at  Gournia,  Vasiliki,  and  Kavousi). 

Journal  of  Hellenic  Studies,  passim. 

’E9Y]^.£p'u;  ’Ap^^atoXoyr/,-*^,  passim. 


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BEN.  Zur  Architektur  und  Ornamentik  des  deutschen  Mit- 
telalters  aus  dem  Munster  ^u  Ulm.  n.  d. 

ViTRY,  P.,  ET  Briere,  G.  (editors).  Documents  de  sculpture 
jranQaise  du  moyen  age.  Paris,  1904. 

Ward,  J.  Historic  Ornament;  Treatise  on  Decorative  Art  and 
Architectural  Ornament.  2 vols.  London,  1897. 

Waters,  W.  G.  Five  Italian  Shrines.  London,  1906. 

Wild,  C.  History  and  Antiquities  of  the  Cathedral  Church  of 
Lincoln.  2nd  edition.  London,  1837. 

Wilson,  E.  Cathedrals  of  France;  Popular  Studies  of  the  most 
interesting  French  Cathedrals.  New  York,  1900. 


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Anderson,  W.  J.  The  Architecture  of  the  Renaissance  in  Italy. 
2nd  edition.  London,  1898. 

Architecture,  peinture,  et  sculpture  de  la  Maison  de  Ville 
T Amsterdam.  Amsterdam,  1719. 

Balcarres  (Lord).  Donatello.  London,  1903. 

B ALDUS,  E.  D.  Palais  du  Louvre  et  des  Tuileries;  motifs  de  dU 
coration  interieure  et  exterieure.  3 vols.  Paris,  1875. 

Baudot,  }.  E.  A.  de.  La  sculpture  frangaise  au  moyen  age  et  a 
la  renaissance.  2nd  edition.  Paris,  1884. 

Beltrami,  L.  La  Certosa  di  Pavia.  Milan,  1891. 

Die  Certosa  von  Pavia.  Geschichte  (1396-1895)  und 
Beschreihung.  Mailand,  n.  d. 

Bezold,  G.  von.  Die  Baukunst  der  Renaissance  in  Deutschland. 
Stuttgart,  1900.  (Handbuch  der  Architektur,  edited  by  J . 
Durm,  pt.  2,  vol.  7). 

Bode,  W.  Denkmaler  der  Renaissance-Sculptur  Toscanas.  Mun- 
ich, 1892-1905. 

Geschichte  der  deutschen  Plaslik.  Berlin,  n.  d. 

Die  italienische  Plastik.  (liandbuch  der  Koniglichen  Museen 
zu  Berlin).  2nd  edition.  Berlin,  1893. 


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XXXI 


UND  Tschudi,  H.  von.  Kdnigliche  Museen  {u  Berlin;  Beschrei- 
bung  der  Bildwerke  der  chrisilichen  Epoche.  Berlin,  1888. 

Bosch EN,  H.  (editor).  Die  Renaissance-Decke  im  Schlosse  {U 
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Brochure  Series  oj  Architectural  Illustration.  Boston,  1895, 
etc. 

Burckhardt,  J.  Der  Cicerone;  eine  Anleitung  ^um  Genus s der 
Kunstwerke  Italiens.  9th  edition.  4 vols.  Leipzig,  1904. 

Cavallucci,  J.,  et  Molinier,  E.  Les  della  Robbia,  leur  vie  et 
leur  oeuvre  d’apres  des  documents  inedits.  Paris,  1884. 
Clarac,  C.  O.  F.  j.  B.,  Conte  de.  Musee  de  sculpture  antique 
et  mod  erne.  12  vols.  Paris,  1826-53. 

Cruttwell,  M.  Luca  and  Andrea  della  Robbia  and  their  Suc- 
cessors. London  and  New  York,  1902. 

Daly,  C.  D.  Motifs  historiques  d’ architecture  et  de  sculpture  d’or- 
nement.  2 series  in  4 vols.  Paris,  1870-80. 

Daun,  B.  P.  Vischer  und  A.  Krafft.  Bielefeld  and  Leipzig, 
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Desjardins,  A.  La  vie  et  Vceuvre  de  Jean  Bologne.  Paris,  n.  d. 

Deville,  j.  a.  Comptes  de  depenses  de  la  construction  du  Cha- 
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Durelli,  G.,  e F.  La  Certosa  di  Pavia  descritta  ed  illustrata. 
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Ewerbeck,  F.,  und  Neumeister,  a.  Die  Renaissance  in  Beh 
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Gilman,  B.  I.  Manual  of  Italian  Renaissance  Sculpture  as  illus- 
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Gonse,  L.  Les  chefs-d’oeuvre  des  musees  de  France.  Sculptures, 
dessins,  objets  d’art.  Paris,  1904. 

La  sculpture  franfaise  depuis  le  XIV^  siecle.  Paris,  1895. 
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Haupt,  a.  Die  Baukunst  der  Renaissance  in  Portugal,  von  den 
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der  spanischen  Herrschajt.  2 vols.  Frankfurt-am-Main,  1890- 
95- 

Havard,  H.  (editor).  La  France  art istique  et  monumental.  6 vols. 
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Hefner-Alteneck,  J.  H.  Eisenwerke  oder  Ornamentik  der 
Schmiedekunst  des  Mittelalters  und  der  Renaissance.  2 vols. 
in  I.  Frankfurt-am-Main,  1885-86. 

Heywood,  W.,  and  Olcott,  L.  Guide  to  Siena;  History  and  Art. 
London,  1903. 

Holroyd,  C.  Michael  Angelo  Buonarroti.  London,  1903. 

Jones,  O.  Grammar  oj  Ornament.  London,  n.  d. 

Knapp,  F.  Michelangelo,  des  Meisters  IV erke  in  166  Ahhildungen 
mit  einer  biographischen  Einleitung.  Stuttgart,  1906.  (Klas- 
siker  der  Kunst  in  Gesamtausgaben,  vol.  7). 

Lachner,  K.  Die  Hollar  chitectur  Hildesheims.  Flildesheim, 
1887. 

Law,  E.  P.  A.  History  oj  Hampton  Court  Palace.  2nd  edition. 
3 vols.  London,  1903. 

Marcou,  P.  F.  (publisher).  Album  du  Musee  de  sculpture  com- 
paree  {Palais  du  Trocadero).  5 vols.  Paris,  n.  d. 

Meyer,  A.  G.  Canova.  Bielefeld  and  Leipzig,  1898.  (Kiinst- 
ler-Monographien,  No.  36). 

Donatello.  Bielefeld  and  Leipzig,  1903.  (Kiinstler-Mono- 
graphien.  No.  65). 

Oberitalienische  Fruhrenaissance;  Bauten  und  Bildwerke 
der  Lombardei.  2 vols.  Berlin,  1897-1900. 

Munich,  Bayerisches  Nationalmuseum.  Ornamente  der  Hol{- 
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J.  H.  von  Hefner-Alteneck.  Frankfurt-am-Main,  1881. 

.Muntz,  E.  Florence  et  la  Toscane,  pay  sages  et  monuments,  mceurs 
et  souvenirs  historiques.  Paris,  1897. 

Histoire  de  V art  pendant  la  Renaissance.  3 vols.  Paris, 
1891-95. 

(publisher).  Le  musee  d' art . . . depuis  les  origines  jusquau 
KIK""  specie.  Paris,  n.  d. 


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XXXlll 


Neale,  J.  P.  History  and  Antiquities  of  IVestminsier  Abbey  and 
Henry  the  Seventh's  Chapel,  their  Tombs,  Ancient  Monuments, 
and  Inscriptions.  London,  1856. 

Oakeshott,  G.  J.  Detail  and  Ornament  of  the  Italian  Renaissance. 
London,  1888. 

Palustre,  L.  La  Renaissance  en  France.  3 vols.  Paris,  1879-85, 

Paoletti,  P.  H architettura  e la  scultura  del  rinascimento  in 
V ene^ia;  recherche  storico-artistiche.  3 vols.  Venice,  1893. 

Paravicini,  T.  V.  Die  Renaissance- arch itektur  der  Lomhardei. 
Dresden,  1877-78. 

Paris,  Palais  du  Trocadero.  Le  Musee  de  sculpture  comparH,du 
Palais  du  Trocadero  du  XT  au  XV^  siecle  . . . jusqu  a nos 
jours.  3 vols.  Paris,  n.  d. 

Perate,  A.  Versailles.  Paris,  1904.  (Les  villes  d’art  celebres). 

Perkins,  C.  C.  Historical  Flandbook  of  Italian  Sculpture.  New 
York,  1883. 

Pfnor,  R.  Monographie  du  palais  de  Fontainebleau.  2 vols.  Paris, 
1863. 

Reveil,  A.  L.  UCEuvre  de  Jean  Goujon.  Paris,  1844. 

Reymond,  M.  Les  della  Robbia.  Florence,  1897. 

La  sculpture  florentine.  4 vols.  Florence,  1897-1900. 

Robinson,  J.  C.  Italian  Sculpture  of  the  Middle  Ages  and  Period 
of  the  Revival  of  Art.  (South  Kensington  Museum).  London, 
1862. 

Roussel,  P.  D,  Histoire  et  description  du  Chateau  d’Anet. 
Paris,  1875. 

Rouyer,  j.  E.  L’Art  architectural  en  France  depuis  Francois 
P^  jusqu  a Louis  XIV;  motifs  de  decoration  interieure  et 
exterieure.  2 vols.  Paris,  1863-66. 

ScHUTz,  A.  Die  Renaissance  in  Italien;  eine  Sammlung  der  werth- 
vollsten  erhaltenen  Monumente  in  chronologischer  Folge 
geordnet.  3 vols.  Flainburg,  1886. 

Strack,  H.  Baudenkmaler  Roms  des  XV-XIX  Jahrhunderts. 
Berlin,  1891. 

Symonds,  j.  a.  Life  of  Michelangelo  Buonarroti,  based  on  studies 
in  the  archives  of  the  Buonarroti  family  at  Florence.  3rd 
edition.  2 vols.  London,  1899. 


XXXIV 


BIBLIOGRAPHY 


Topical  Architecture  . . . edited  by  W.  R.  Ware.  4 vols.  Boston, 
1901-05. 

Vachon,  M.  L’ancien  Hotel  de  Ville  de  Paris  1533-1871. 
Paris,  1882. 

Van  Ysendyck,  J.  J.  Documents  classes  de  V art  dans  les  Pays-has 
du  au  XV UP  specie . 3 series  in  5 vols.  Antwerp,  1880-89. 

ViTRY,  P.  Tours  et  les  chateaux  de  Touraine.  Paris,  1905.  (Les 
villes  d’art  celebres). 

Wilson,  E.  Cathedrals  of  France;  Popular  Studies  of  the  most 
interesting  French  Cathedrals.  New  York,  1900. 

Yriarte,  C.  E.  Sculpture  italienne,  15^  siecle;  Matteo  Civitali, 
sa  vie  et  son  oeuvre.  Paris,  1886. 


PLAN  OF  THE  GALLERIES  OF  CASTS 


■X 


:"|i  ^1! 

V 


i 


I 


EGYPTIAN  ART 


EGYPTIAN  ART 

(in  gallery  i8) 

I,  2,  3 WOODEN  PANELS,  in  low  relief,  from  the  tomb  of  Hesy, 
at  Sakkara.  HI  dynasty.  In  the  Cairo  Museum. 

Maspero,  Guide  to  the  Cairo  Museum,  1906,  p.  445. 

4 WOODEN  STATUE  of  an  official,  popularly  known  as  the 
Sheikh  el  Beled.  The  eyes  are  inlaid,  and  are  of  opaque 
white  quartz  surrounded  by  a rim  of  bronze  to  represent  the 
lid.  The  iris  in  each  case  is  of  transparent  rock  crystal.  IV 
dynasty.  Found  by  Mariette  in  a mastaba-tomb  at  Sakkara. 
Now  in  the  Cairo  Museum. 

Restorations:  The  right  foot  and  the  left  leg  entire. 

Maspero,  Guide  to  the  Cairo  Museum,  1906,  p.  39. 

5 SIDE  OF  THE  SARCOPHAGUS  OF  KHUFU-ANKH. 
IV  dynasty.  Of  red  granite.  In  the  Cairo  Museum. 

Perrot  & Chipiez,  History  of  Art  in  Ancient  Egypt.  (English 
translation.)  Figs.  123  and  124. 

6 SEATED  STATUE  OF  KING  KHAFRA,  the  builder  of 
the  Second  Pyramid  at  Gizeh.  IV  dynasty.  Of  basalt. 
This  statue,  together  with  parts  of  eight  other  similar  ones, 
was  found  by  Mariette  in  the  so-called  Temple  of  the  Sphinx 
In  the  Cairo  Museum. 

Maspero,  Guide  to  the  Cairo  Museum,  1906,  p.  37. 

7-19 

RELIEFS  FROM  THE  TOMB  OF  TI.  Scenes  in  low  relief  from 
the  walls  of  the  olTering-chambers  of  the  mastaba-tomb  of  Ti,  at 
Sakkara.  Ti  held  the  positions  of  royal  architect  and  builder 


4 EGYPTIANART 

of  the  pyramids  of  Kings  Nefer-er-ka-ra  and  User-en-ra,  of  the 
V dynasty. 

7 Domestic  Geese  and  Cranes. 

8,  9 Procession  of  Offering-Bearers. 

10  Donkeys  Laden  with  Grain. 

I I Donkeys  Driven  through  a Stream. 

12,  13  Oxen  Led  to  the  Sacrifice. 

14  Peasants  Tilling  the  Ground. 

I 3 Antelope  and  Gazelle. 

16  Cattle  Driven  through  a Stream. 

17  Oxen  Led  to  the  Sacrifice. 

18  Milking  Scene. 

19  Flock  of  Domestic  Cranes. 


20  HEAD  FROM  A PORTRAIT  STATUE  of  an  official  or 
dignitary.  V-VI  dynasty.  Of  limestone.  In  the  Cairo 
Museum. 

21  LIMESTONE  OFFERING-STELA  OF  ANTEF,  an  offi- 
cial of  the  reigns  of  Amenemhat  I and  Usertesen  I.  XII 
dynasty.  Found  at  Abydos,  and  now  in  the  Cairo  Museum. 

22  SEATED  STATUETTE  OF  AMENEMHAT,  an  official 
described  as  “royal  friend  and  overseer  of  the  royal  chamber.” 
Of  granite.  XII  dynasty.  In  the  British  Museum. 

British  Museum,  Synopsis,  No.  462. 

23  HEAD  OF  A PORTRAIT-STATUETTE.  Of  basalt. 
XII  dynasty.  Found  at  Karnak,  and  now  in  the  Berlin  Mu- 
seum. 

Konigliche  Museen  zu  Berlin,  Ausjuhrliches  Verieichnis  der 
aegyptischen  AUertiimer,  zweite  Auflage,  No.  83. 

24  HEAD  FROM  A COLOSSAL  STATUE  of  an  unknown 
king.  Formerly  ascribed  to  the  Hyksos  period,  but  now 


EGYPTIAN  ART 


5 

attributed  with  greater  probability  to  the  end  of  the  XII 
dynasty.  Of  black  granite.  Found  at  Bubastis,  and  now 
in  the  British  Museum. 

E.  Naville,^/^zi&<35/z5.  London,  1891.  Pis.  I and  X. 

25  AMENHETEP  I.  Upper  part  of  a statuette.  Of  limestone. 
XVI 11  dynasty.  In  the  Turin  Museum. 

Petrie,  History  of  Egypt,  II,  p.  50. 

26  PORTRAIT  OF  THE  QUEEN  OF  PUNT.  A fragment 
from  the  scene  on  the  walls  of  the  temple  at  Der  el-Bahari, 
commemorating  an  expedition  to  Punt  undertaken  during 
the  reign  of  Queen  Hatshepsut.  XVIII  dynasty.  Of 
painted  limestone.  Now  in  the  Cairo  Museum. 

Maspero,  Guide  to  the  Cairo  Museum,  1906,  p.  124. 

27  THOTHMESIII.  Head  from  a statue.  Ofgranite.  XVHI 
dynasty.  In  the  Turin  Museum. 

28  AMENHETEP  II.  Head  from  a kneeling  statue.  Of 
granite.  XVHI  dynasty.  In  the  Turin  Museum. 

Petrie,  History  of  Egypt,  II,  p.  16 1. 

29  SEATED  STATUE  OF  AMENHETEP  HI.  Of  black 
granite.  XVHI  dynasty.  Found  by  Belzoni  in  the  temple 
of  Amenhetep  HI,  on  the  west  bank,  at  Thebes.  In  the 
British  Museum. 

Belzoni,  Narrative,  p.  291. 

30  PROW  OF  A BOAT  with  head  of  the  goddess  Hathor,  and 
inscribed  with  the  names  of  Amenhetep  HI  and  his  mother 
Mutemua.  Of  black  granite.  XVHI  dynasty.  In  the 
British  Museum. 

Arundale  & Bonomi,  Gallery  of  Antiquities,  pi.  34. 

31  RECUMBENT  LION.  Of  red  granite.  Originally  set  up 
by  Amenhetep  HI,  in  the  temple  at  Soleb,  Nubia,  and  later 
removed  to  the  Ethiopian  capital,  Napata,  where  it  was 
found.  XVHI  dynasty.  In  the  British  Museum. 

32  HEAD  OF  A QUEEN  of  the  XVHI  dynasty.  There  is  no 
evidence  as  to  its  identification.  Of  limestone.  Found 
at  Karnak,  and  now  in  the  Cairo  Museum. 

Maspero,  Guide  to  the  Cairo  Museum,  1906,  p.  124. 


6 EGYPTIANART 

33  SQUATTING  STATUE  of  the  “hereditary  prince,  the  royal 
treasurer,  the  royal  friend,  Ken-nekht/’  Of  black  basalt. 

XVIII  dynasty.  In  the  British  Museum. 

34  HISTORICAL  RELIEF  FROM  KARNAK,  representing 
Seti  I waging  war  against  the  Bedouins  of  Southern  Pales- 
tine at  the  fortress  of  Canaan.  XIX  dynasty.  From  the 
northern  wall  of  the  great  Hypostyle  Hall  of  the  temple. 

35  RAMESES  II.  Head  from  a seated  statue.  Of  black 
granite.  XIX  dynasty.  In  the  Turin  Museum. 

Petrie,  History  of  Egypt,  HI,  p.  8i. 

36  RAMESES  II.  Upper  part  of  a colossal  statue.  Of  red 
granite.  XIX  dynasty.  From  the  Ramesseum  at  Thebes, 
and  now  in  the  British  Museum. 

Arundale  & Bonomi,  Gallery  of  Antiquities,  pi.  39. 

37  RAMESES  II.  Upper  part  of  a statue.  Of  red  granite. 

XIX  dynasty.  From  the  island  of  Elephantine,  and  now 
in  the  British  Museum. 

Arundale  & Bonomi,  Gallery  of  Antiquities,  pi.  40. 

38  LIMESTONE  STELA,  with  scene  in  low  relief,  representing 
Rameses  II  before  the  goddess  Hathor.  XIX  dynasty. 
In  the  Turin  Museum. 

39  SEATED  STATUE  OF  SETI  II,  holding  on  his  knees  the 
emblem  of  the  ram-headed  god  Khnum.  Of  sandstone. 
XIX  dynasty.  From  Karnak,  and  now  in  the  British  Mu- 
seum. 

Arundale  & Bonomi,  Gallery  of  Antiquities,  pi.  43. 

40  RAMESES  HI.  Portrait  in  sunken  relief.  Detail  from  a 
scene  on  the  walls  of  his  tomb,  in  the  valley  of  the  Kings, 
at  Thebes.  XX  dynasty. 

41  ASIATIC  CAPTIVES  taken  by  Rameses  HI  in  his  foreign 
campaigns.  From  scenes  in  sunken  relief,  on  the  Second 
Pylon  of  the  Temple  of  Medinet  Habu,  at  Thebes. 

42  STATUE  OF  QUEEN  AMENERTAIS.  XXV  dynasty.  The 
statue  is  of  alabaster,  and  the  base  of  gray  granite.  Found 
at  Karnak,  and  now  in  the  Cairo  Museum. 

Maspero,  Catalogue  of  the  Cairo  Museum,  1906,  p.  183. 


EGYPTIAN  ART 


7 

43  TAMAR KA,  the  Ethiopian  conqueror.  Head  from  a statue 
of  black  granite.  XXV  dynasty.  Found  at  Luxor,  and  now 
in  the  Cairo  Museum. 

Maspero,  Catalogue  oj  the  Cairo  Museurriy  1906,  p.  185. 

44  UNFINISHED  STATUETTE  of  a kneeling  figure  holding 
a shrine.  Of  gray  serpentine.  XXVI  dynasty.  Found  at 
Mit  Rahineh,  on  the  site  of  the  ancient  Memphis,  and  now 
in  the  Cairo  Museum. 

45  EGYPTIAN  SARCOPHAGUS,  from  which  the  name  of  the 
original  possessor  had  been  effaced,  and  which  was  after- 
ward appropriated  for  Eshmunazar,  King  of  Sidon.  About 
XXVI  dynasty.  Found  at  Sidon,  and  now  in  the  Louvre. 

46  HEAD  OF  A PRIEST.  Of  green  basalt.  XXVI-XXX  dy- 
nasty. In  the  Berlin  Museum. 

KoniglicHe  Museen  zu  Berlin,  Ausfiihrliches  V erieichnis  der 
aegyptischen  Altertiimer,  zweite  Auflage,  Abb.  61. 

47  SIDE  OF  A SMALL  OBELISK  bearing  a dedicatory  in- 
scription of  King  Nekht-hor-heb  to  the  god  Thoth.  Of 
black  basalt.  XXX  dynasty.  From  Memphis.  In  the 
British  Museum. 

Petrie,  History  of  Egypt,  HI,  p.  378. 

48  GROUP  representing  the  goddess  Hathor,  in  the  form  of  a 
cow,  protecting  Psamtik,  an  official  of  the  reign  of  Nectanebo 
I.  Of  serpentine.  XXX  dynasty.  From  the  tomb  of 
Psamtik  at  Sakkara.  Cf.  also  Nos.  49  and  50.  In  the 
Cairo  Museum. 

Maspero,  Guide  to  the  Cairo  Museum,  1906,  p.  333. 

49  OSIRIS.  Seated  statuette  of  green  basalt.  From  the  tomb 
at  Sakkara,  of  Psamtik,  an  official  of  the  reign  of  Nectanebo  I. 
XXX  dynasty.  Cf.  Nos.  48  and  50.  In  the  Cairo  Museum. 
Maspero,  Guide  to  the  Cairo  Museum,  1906,  p.  331. 

50  ISIS.  Seated  statuette  of  serpentine.  From  the  tomb  at 
Sakkara,  of  Psamtik,  an  official  of  the  reign  of  Nectanebo  I. 
XXX  dynasty.  Cf.  Nos.  48  and  49.  In  the  Cairo  Museum. 
Maspero,  Guide  to  the  Cairo  Museum,  1906,  p.  332. 


8 egyptianart 

3 I STELA,  representing  the  god  Horns  overcoming  the  powers 
of  evil.  Of  black  basalt.  Ptolemaic  period.  Found  at 
Alexandria,  and  now  in  the  Cairo  Museum. 

Maspero,  Guide  to  the  Cairo  Museum,  1906,  p.  367. 

52  LIMESTONE  STELA,  inscribed  with  a trilingual  decree, 
known  as  the  Decree  of  Canopus.  The  decree  was  pro- 
nounced by  an  assembly  of  the  priests  in  238  B.  C.,  in  the 
reign  of  Ptolemy  III,  Euergetes  I,  instituting  new  honors 
for  the  king,  the  Queen  Berenice,  and  in  memory  of  their 
daughter  Berenice.  It  appears  above  in  hieroglyphics,  be- 
low in  Greek,  and  in  the  margins  in  the  popular  dialect  of 
Egyptian  written  in  the  demotic  characters.  Found  at 
Tanis  in  1866,  and  now  in  the  Cairo  Museum. 

Maspero,  Guide  to  the  Cairo  Museum,  1906,  p.  192. 

53  BASALT  STELA,  known  as  the  Rosetta  Stone,  bearing 
a trilingual  decree  of  the  Egyptian  priests,  issued  in  196  B.  C., 
in  honor  of  Ptolemy  V,  Epiphanes.  The  decree  is  inscribed 
above  in  the  hieroglyphic  form  of  the  Egyptian  language; 
then  in  the  popular  form  of  Egyptian  in  demotic  characters; 
and  finally  it  is  repeated  in  Greek.  This  inscription  gave  the 
first  clue  to  the  decipherment  of  hieroglyphics,  when  it  was 
ascertained  that  the  name  of  Ptolemy,  which  occurred  in  the 
Greek  copy  of  the  decree,  was  to  be  found  in  the  group  of 
hieroglyphic  signs  enclosed  in  the  oval  or  cartouche.  The 
stela  was  found  in  1799,  near  Rosetta,  and  is  now  in  the 
British  Museum. 

54  MODEL  OF  THE  TEMPLE  OF  KARNAK.  This  model 
represents  the  central  aisles  of  the  Great  Hypostyle  Hall 
of  the  Temple  of  Amen.  Restoration  by  Charles  Chipiez, 
architect,  Paris.  Inscriptions  and  colored  relief  restored 
by  Professor  Gaston  Maspero.  Model  made  by  Abel  Poulin, 
sculptor,  Paris,  for  the  Willard  Collection. 

The  fundamental  form  of  an  Egyptian  temple  consisted  of: 
(i)  The  Pylon,  or  Facade,  two  large  towers  of  masonry 
flanking  the  entrance-door.  Beyond  this,  (2)  a broad,  open 
Court,  surrounded  by  colonnades.  Further  on,  (3)  the  Hy- 
postyle Hall,  consisting  of  a nave  and  side  aisles,  the  nave  be- 
ing considerably  higher  than  the  aisles,  and  lighted  by  clere- 
story openings.  And  finally,  at  the  rear,  (4)  the  Sanctuary 
proper,  surrounded  by  chambers  for  the  performance  of  re- 
ligious rites  and  for  the  storage  of  temple  property. 

This  great  Hypostyle  Hall  at  Karnak,  much  of  which  is  still 


EGYPTIAN  ART 


9 

standing,  is  undoubtedly  the  most  imiposing  example  of 
Egyptian  temple-construction  that  has  been  preserved  to  us. 
The  hall  was  begun  by  Seti  I and  completed  by  his  son  Ram- 
eses  II,  of  the  XIX  dynasty,  but  several  of  their  successors 
have  also  recorded  their  names  in  the  decorative  inscriptions 
and  reliefs.  It  measures  338  feet  in  breadth,  170  feet  in 
depth,  and  has  an  area  of  5,450square  yards — an  area  spacious 
enough  to  accommodate  the  entire  church  of  Notre  Dame  at 
Paris,  a model  of  which  is  shown  in  the  large  hall  of  casts. 
No.  1723.  The  roof  of  the  Hypostyle  Hall  is  supported  by 
134  columns  arranged  in  16  rows,  of  which  the  two  higher  cen- 
tral rows  consist  of  papyrus-columns  with  open-flower  cap- 
itals, while  the  smaller  columns  have  bud-capitals.  The  col- 
umns are  built  up  of  a series  of  drums,  and  are  of  reddish 
sandstone.  The  twelve  columns  in  the  two  central  rows  are 
69  feet  in  height  and  iij  feet  in  diameter,  while  the  re- 
maining 122  columns  are  42^  feet  in  height  and  feet  in 
diameter.  The  walls  of  the  hall,  the  columns,  and  the  archi- 
trave are  covered  with  inscriptions  and  reliefs,  many  of  which 
still  retain  their  coloring,  enumerating  the  names  and  titles 
of  Seti  and  Rameses,  and  representing  them  in  adoration 
before  the  various  gods  of  Thebes. 


€ 


a. 


ORIENTAL  ART 


CHALDAEAN 

(in  gallery  19) 

IOI-I06 

SCULPTURES  OF  GREEN  DIORITE,  discovered  by  M.  de 
Sarzec  during  his  excavations  of  the  palace  of  Gudea  (between 
3,000  and  2,000  B.  C.),  at  Tello,  in  Southern  Chaldaea,  and  now 
in  the  Museum  of  the  Louvre. 

10 1 SEATED  STATUE  OF  GUDEA  as  an  architect,  with, 
the  plan  of  a fortress. 

Sarzec,  Decouvertes  en  Chaldee,  pi.  18. 

102  SEATED  STATUE  OF  GUDEA  as  an  architect,  with  a 
measuring  rule. 

Sarzec,  pi.  14. 

103  STANDING  STATUE  OF  GUDEA  (larger  size). 

Sarzec,  pi.  1 1. 

104  STANDING  STATUE  OF  GUDEA  (smaller  size). 

Sarzec,  pi.  20. 


105  MALE  PORTRAIT  HEAD,  with  a turban. 
Sarzec,  pi.  12. 

106  MALE  PORTRAIT  HEAD. 

Sarzec,  pi.  12. 


14  ORIENTALART 

107  BOUNDARY  STONE.  Of  black  basalt,  erected  to  re- 
cord a sale  of  land,  the  conditions  of  which  are  described 
in  the  inscription  on  the  back  of  the  stone.  It  dates  from 
the  reign  of  Merodach-idin-akhi,  who  was  King  of  Chaldaea 
in  the  twelfth  century  B.  C.  The  relief  in  front  probably 
represents  the  king.  In  the  British  Museum. 

108  STELE  OF  KING  SARGON.  Found  at  Kition  (Larnaka), 
in  the  island  of  Cyprus,  and  now  in  the  Museum  of  Berlin. 


ASSYRIAN 

(in  gallery  19) 

I2I-I43 

ALABASTER  RELIEFS  found  in  the  ruins  of  the  palace  of 
Ashur-nasir-pal,  King  of  Assyria  (885-860  B.  C.),  in  the  mound 
of  Nimrud,  and  now  in  the  British  Museum. 

12 1 TWO  FIGURES  from  the  left  of  a relief  representing  the 
king  with  attendants  and  winged  figures. 

Layard,  Monuments  of  Nineveh,  I,  pi.  5. 

122  THE  KING,  ASHUR-NASIR-PAL. 

Layard,  Monuments,'  I,  pi.  34,  2. 

123  THE  KING,  eagle-headed  figures  and  the  sacred  tree. 
Victor  Place,  Ninive  et  V Assyrie,  HI,  pi.  46,  Nos.  i and  3. 

124  THE  KING  and  other  figures  before  the  sacred  tree. 
Layard,  Monuments,  I,  pi.  25. 

125  FIGURES  KNEELING  before  the  sacred  tree. 

Layard,  Monuments,  I,  pi.  7A. 

126,  127  TWO  RELIEFS  representing  lion-hunts. 

Layard,  Monuments,  I,  pis.  10  and  30. 

128  THE  KING  pouring  a libation  over  a dead  lion. 

129  A BULL  HUNT. 

Layard,  Monuments,  I,  pi.  ii. 


ASSYRIAN 


5 


130  THE  KING  pouring  a libation  over  a dead  bull. 

Layard,  Monuments,  I,  pi.  12. 

131  THE  KING  besieging  a city  with  a battering  ram. 

Layard,  Monuments,  I,  pi.  17. 

132  THE  KING  receiving  prisoners. 

Layard,  Monuments,  I,  pi.  23. 

133  PRISONERS  brought  before  the  King. 

Layard,  Monuments,  I,  pi.  24. 

134  THE  KING  besieging  a city  with  a scaling  ladder. 

Layard,  Monuments,  I,  pi.  20. 

135-138  FOUR  RELIEFS  representing  battle  scenes.  The 
king  and  his  warriors  are  in  chariots  and  on  horses;  the 
enemy  fight  on  foot. 

Layard,  Monuments  oj  Nineveh,  I,  pis.  26  and  27. 

Layard,  Nineveh  and  its  Remains,  I,  p.  337. 

1 39-141  THREE  RELIEFS  representing  the  return  after  a vic- 
tory; a procession  of  chariots  is  approaching  the  castle 
and  pavilion  of  the  king. 

Layard,  Monuments  of  Nineveh,  I,  pis.  21,  22,  30. 

142  THE  KING  receiving  an  envoy. 

143  THE  KING  in  a chariot. 

Layard,  Monuments,  I,  pi.  18. 


144  BLACK  ALABASTER  MONOLITH,  known  as  the  “ Black 
Obelisk,”  set  up  by  Shalmaneser  II,  king  of  Assyria  (860- 
825  B.  C.),  in  the  central  building  at  Nimriid.  Inscribed 
on  its  four  sides  with  an  account  of  the  expeditions  under- 
taken by  Shalmaneser  during  the  thirty-one  years  of  his 
reign,  and  with  scenes  representing  the  paying  of  tribute  by 
the  kings  whom  he  had  conquered. 

In  the  British  Museum. 

Layard,  Monuments  of  Nineveh,  I,  pis.  53-56. 


l6  ORIENTALART 

145  FRAGMENT  OF  A THRESHOLD  from  the  palace  of 
Sargon,  king  of  Assyria  (722-705  B.  C.),  at  Khorsabad.  In 
the  Museum  of  the  Louvre. 

Perrot  et  Chipiez,  Hisioire  de  V Arty  II,  p.  251,  fig.  96. 

146  FRAGMENT  OF  A THRESHOLD.  Of  alabaster  from 
the  palace  of  Sennacherib,  king  of  Assyria  (705-681  B.  C.), 
at  Kouyunjik  (Nineveh).  In  the  British  Museum. 

Layard,  Monuments  of  Nineveh,  II,  pi.  LVL 


147-154 

SCULPTURED  LIMESTONE  SLABS  from  the  palace  of  Ashur- 
bani-pal,  king  of  Assyria,  668-626  B.  C.,  at  Kouyunjik  (Nineveh), 
Now  in  the  British  Museum. 

147  A LION  HUNT. 

Victor  Place,  Ninive  et  VAssyrie,  pi.  50  bis  i,  pi.  53. 

148  A HUNT  OF  WILD  ASSES. 

Victor  Place,  pi.  54,  1 and  2. 

149  A WOUNDED  LIONESS. 

Victor  Place,  pi.  55,  2. 

1 50  THE  KING  pouring  a libation  on  the  return  of  a lion  hunt. 
Victor  Place,  pi.  57,  i. 

151  ASHUR-BANI-PAL  and  his  queen  feasting  in  a garden. 
Victor  Place,  pi.  57,  2. 

152  COMPOSITE  CREATURE  of  a man  and  lion. 

Perrot  et  Chipiez,  Histoire  de  V Art,  II,  fig.  278. 

153  MUSICIANS. 

British  Museum,  Assyrian  Saloon,  No.  124. 


154  OFFICIALS  leading  dogs. 

British  Museum,  Assyrian  Saloon,  No.  78. 


ASSYRIAN 


17 


I55-J59 

DETAILS  FROM  ASSYRIAN  RELIEFS,  unidentified. 

155  Horses' Heads. 

I 56  Nose  and  Mouth  from  a colossal  human  figure. 

I 57  Beard  from  a colossal  human  figure. 

I 58  Head  of  a bearded  male  figure  in  profile. 

159  Fragment  of  a small  relief  with  a chariot  and  part  of 
a horse. 


PERSIAN 

(in  gallery  16) 

181-196 

SCULPTURES  FROM  PERSEPOLIS  and  the  neighborhood, 
illustrating  the  art  of  the  Old  Persian  Empire,  560-340  B.  C. 
(The  descriptions  and  translations  of  Nos.  181-192  are  based 
upon  those  in  Cecil  H.  Smith’s  Catalogue  of  Casts  of  Sculptures 
from  Persepolis,  London,  1892.) 

181  RELIEF  OF  KING  CYRUS  (559-529  B.  C),  represented 
as  a winged  figure,  wearing  an  Egyptian  headdress.  The 
inscription  which  stood  over  the  figure  has  been  broken 
away.  The  original  slab  is  on  the  plain  of  Murghab  (Pas- 
argadae). 

Flandin  et  Coste,  Perse  ancienne,  IV,  pi.  198  and  199D. 

182  ONE  OF  THE  ROYAL  BODY-GUARDS.  Relief  from 
the  fafade  of  the  stairway  on  the  southeast  side  of  the 
Palace  of  Darius  (521  B.  C.),  at  Persepolis. 

Flandin  et  Coste,  Perse  ancienne,  HI,  pis.  114,  115,  and  122. 

183  KING  STABBING  A LION.  Relief  decorating  one  side 
of  a doorway  on  the  northeast  side  of  the  Palace  of  Darius 
(521  B.  C). 

Flandin  et  Coste,  Perse  ancienne,  HI,  pi.  116. 


l8  ORIENTALART 

184  KING  STABBING  A MONSTER.  Relief  decorating  one 
side  of  a doorway  on  the  southwest  side  of  the  Palace  of 
Darius  (521  B.  C.). 

Flandin  et  Coste,  Perse  ancienne,  III,  pi.  1 16  and  123. 

185  FRIEZE  decorating  the  passage  leading  to  a stairway  on 
the  north  side  of  the  Great  Hall  of  Xerxes  at  Persepolis,  and 
probably  erected  by  that  king  (485-469  B.  C.).  Five  depu- 
tations, each  escorted  by  an  officer,  are  bringing  offerings 
(chariots,  horses,  camels,  donkeys,  woven  fabrics,  vessels, 
and  money?)  to  the  great  king,  who  held  his  levee  in  this 
hall  at  the  annual  festival  of  No  Ruz  (the  New  Year),  at 
the  vernal  equinox  in  April. 

Flandin  et  Coste,  Perse  ancienne,  II,  pi.  91,  105  and  109. 

186  PROCESSION  OF  FIGURES,  perhaps  officials  of  the 
court,  holding  flowers.  Part  of  a frieze  belonging  to  the 
same  series  as  No.  185,  but  from  the  other  side  of  the 
stairway. 

Flandin  et  Coste,  Perse  ancienne,  II,  pi.  95. 

187  RELIEF  decorating  the  side  of  a doorway  on  the  south  side 
of  the  hall  of  the  Hundred  Columns  at  Persepolis.  The 
king,  perhaps  Xerxes  (485-469  B.  C.),  is  seated  on  a throne, 
with  an  attendant  behind  him  holding  a fly-whisk.  Above 
is  a canopy  decorated  with  two  friezes  of  animals,  over 
which  is  a winged  disk  with  the  image  of  the  god  Ahumar- 
azda.  This  group  rests  on  a dais  in  the  form  of  a colossal 
chair,  the  rails  and  seat  of  which  are  supported  by  figures 
symbolizing  the  various  subject  nationalities  of  the  great 
king. 

This  relief  is  exhibited  in  two  sections. 

Flandin  et  Coste,  Perse  ancienne,  HI,  pi.  155. 

188  INSCRIPTION  OF  XERXES  (485-469  B.  C),  in  the 
earlier  (Babylonian)  characters.  Found  beside  the  stair- 
way leading  from  the  Palace  of  Darius  to  the  southeast 
palace.  The  translation  reads:  “A  great  god  is  Ahura- 
mazda,  who  created  this  earth,  who  created  this  heaven, 
who  created  men,  who  bestowed  honor  on  men,  who  be- 
stowed the  dominion  on  Xerxes  as  the  only  one  among 
many  kings,  the  only  one  of  many  rulers.  I am  Xerxes 
the  Great  King,  the  king  of  kings,  the  king  of  lands,  the 
collection  of  tongues,  the  king  of  this  great  wide  earth  (?), 
the  son  of  king  Darius,  the  Akhaemenid.  Xerxes,  the 


THE  PALACE  OF  DARIUS  AT  PERSEPOLIS,  RESTORED 
FROM  PERROT  ET  CHIPIEZ,  Histoire  de  Vart,  vol.  v. 


PERSIAN 


19 

great  king  saith:  that  which  I have  here  done,  and  that 
which  I have  done  in  another  place,  all,  so  far  as  1 have  done, 
have  I in  the  protection  of  Ahuramazda  completed.  Afe 
may  Ahuramazda  protect  in  company  with  the  other  gods, 
and  my  dominion,  and  that  which  1 have  made.” 

This  inscription  affords  an  interesting  comparison  with  the 
later  one  in  the  stairway  of  Artaxerxes  Ochus  (No.  189), 
which  is  written  in  the  true  Persepolitan  characters. 

189  RELIEFS  decorating  the  facade  of  a double  stairway  on 
the  southwest  side  of  the  Palace  of  Darius  at  Persepolis, 
and,  according  to  the  inscription,  constructed  by  Artaxerxes 
Ochus  (358-340  B.  C.).  In  the  side  angles  are  convention- 
alized palmette  ornaments.  A group  of  a lion  attacking  a 
bull  flanks  the  central  portion  on  each  side.  Above  these,  fig- 
ures are  represented  ascending  the  staircase,  bringing  offer- 
ings to  the  king.  In  the  centre  are  four  rows  of  figures, 
probably  symbolizing  subject  provinces  with  offerings, 
and  between  them  a panel  containing  a long  inscription  in 
Persian  cuneiform  characters,  which  reads:  “A  great  god 
is  Ahuramazda  who  created  this  earth,  who  created  yonder 
heaven,  who  created  men,  who  created  pleasure  for  men, 
who  made  me  Artaxerxes  for  the  king,  the  one  and  only 
king  of  many,  the  one  and  only  master  of  many. 

“Thus  saith  Artaxerxes  the  Great  King,  the  king  of  kings, 
the  king  of  lands,  the  king  of  this  earth.  I am  (Arta- 
xerxes) the  son  of  king  Artaxerxes,  Artaxerxes  the  son  of 
king  Xerxes,  Xerxes  the  son  of  king  Darius,  Darius  the 
son  of  Vishtaspa  (Hystaspes),  Vishtaspa  the  son  of  (a  man) 
named  Arshama,  an  Akhaemenid. 

“Thus  saith  the  king  Artaxerxes:  This  stone  high  building 
have  I made  for  myself. 

“Thus  saith  the  king  Artaxerxes:  Me  may  Ahuramazda 

and  the  god  Mithras  protect,  and  this  land  and  what  I have 
made.” 

Flandin  et  Coste,  Perse  and enne,  III,  pis.  120  and  125. 

190  KING  STABBING  A MONSTER.  Relief  from  one  side  of 
a doorway.  Found  on  the  site  of  the  southeast  palace  at 
Persepolis. 

Stolze,  Persepolis,  I,  pi.  4. 

19 1 LION.  From  a frieze  of  lions  decorating  the  architrave 
over  the  doorway  of  one  of  the  tombs  of  the  kings. 

Flandin  et  Coste,  Perse  ancienne,  III,  pis.  164  and  164  bis. 


20 


ORIENTAL  ART 


192  BASE  OF  A COLUMN  dug  up  at  Persepolis. 

A similar  base  is  given  in  Stolze,  Persepolis,  1 1,  pis.  58  and  61 . 

193  FRAGMENT  OF  A FRIEZE.  Three  warriors  in  process- 
ion to  right.  In  the  British  Museum. 

194  FRAGMENT  OF  A RELIEF.  Upper  part  of  a warrior 
walking  to  left.  Above,  three  rosettes  as  ornaments  of 
a gable.  In  the  British  Museum. 

195,  196  TWO  SECTIONS  OF  NARROW  FRIEZES.  The 
first  has  three  bullocks  walking  to  right,  a row  of  rosettes 
below  them;  the  second,  three  lions  and  part  of  a fourth 
walking  in  the  same  direction;  rosettes  above  and  below. 
From  casts  in  the  British  Museum. 


197,  198  TWO  FRIEZES  of  enamelled  brick  from  the  palace 
of  Artaxerxes  II,  Mnemon  (404-358  B.  C.),  at  Susa.  Dis- 
covered by  M.  Dieulafoy  during  the  French  expeditions 
of  1884-1886,  and  now  in  the  Museum  of  the  Louvre. 

{a)  Marching  Lions  between  two  richly  ornamented  bands. 
{h)  Procession  of  Advancing  Archers  between  orna- 
mented bands.  These  have  been  identified  as  the  famous 
“ Immortals,*'  the  body-guard  of  the  Persian  king. 

Perrot  et  Chipiez,  Histoire  de  VArt,  V,  pis.  XI  and  XII. 


CYPRIOTE  AND  PHOENICIAN 

(IN  GALLERY  38,  ALCOVE  l) 

21 1 CYPRIOTE  CAPITAL.  Found  in  Cyprus,  and  now  in 
the  Museum  of  the  Louvre. 

Perrot  et  Chipiez,  Histoire  de  VArt,  III,  p.  1 16,  fig.  51. 

212  CYPRIOTE  CAPITAL.  Found  in  Cyprus,  and  now  in  the 
Museum  of  the  Louvre. 

Perrot  et  Chipiez,  Histoire  de  VArt,  III,  p.  1 16,  fig.  52. 

213  CAPITAL  FROM  CYPRUS  in  Egyptian  style.  On  it  is 
represented  a head  of  Hathor,  rising  from  a lotos-flower, 
and  surmounted  by  a small  shrine.  In  the  Louvre? 


CYPRIOTE  AND  PHOENICIAN 


21 


214  ALABASTER  SLAB,  with  a sphinx  and  other  decorations 
in  relief.  Phoenician.  From  Arad.  Now  in  the  Museum 
of  the  Louvre. 

Perrot  et  Chipiez,  Histoire  de  V Art,  III,  p.  129,  fig.  73. 

215  ALABASTER  SLAB,  with  architectural  decorations  in 
relief.  Phoenician.  From  Byblos.  Now  in  the  Museum 
of  the  Louvre. 

Perrot  et  Chipiez,  Histoire  de  V Art,  III,  p.  132,  fig.  77. 

216  STELE,  representing  part  of  a facade.  Phoenician.  From 
Hadrumetum  in  Africa.  Now  in  the  Museum  of  the  Louvre. 
Perrot  et  Chipiez,  Histoire  de  V Art,  III,  p.  461,  fig.  337. 

217  FRAGMENT  OF  A TABLET  containing  a Himyaritic  in- 
scription, surrounded  by  a grape-vine  border,  with  dentels 
above.  In  the  British  Museum,  No.  21. 


4 


GREEK  AND  ROMAN  ART 


m 


PREHISTORIC  ART  IN  GREECE 

(IN  GALLERY  20) 

The  Greeks  had  a very  vague  knowledge  of  the  his- 
tory of  the  people  who  inhabited  Greek  lands  before 
their  own  arrival  from  the  North,  that  is  to  say,  dur- 
ing the  second  and  third  millenia  B.  C.  A certain  tra- 
dition lingered  on,  as  embodied  in  Homer  and  Hesiod,  and  re- 
ferred to  occasionally  by  the  Greek  historians  Herodotos  and 
Thucydides;  but  the  stories  told  by  these  writers  clearly  take  us 
back  to  "‘prehistoric,’*  legendary  times.  It  is  one  of  the  chief 
triumphs  of  modern  scientific  archaeology  that  we  have  at  the 
present  day  a more  exact  picture  of  this  early  civilization,  and 
know  more  of  the  social  customs,  religion,  politics,  and  art  of  these 
prehistoric  peoples  than  did  the  Greeks  themselves.  This  flood 
of  light  has  come  from  the  excavations  of  the  last  thirty  years  at 
sites  which  from  the  writings  of  Homer  were  known  to  be  the  chief 
centres  of  that  civilization.  First,  Heinrich  Schliemann,  by  his 
epoch-making  excavations  at  Troy,  Mykenae,  and  Tiryns,  opened 
up  new  vistas  to  students  of  Greek  history.  His  researches  were 
followed  by  other  explorers  in  Attica,  the  Peloponnesos,  Boeotia, 
the  islands  of  the  Aegean,  Egypt,  Rhodes,  and  Cyprus.  Though 
Crete  was  felt  to  be  the  great  centre  of  this  important  civilization, 
for  a long  time  excavators  were  prevented  by  Turkish  restrictions 
from  carrying  on  systematic  excavations.  It  was  not  until  1900, 
when  a stable  government  was  established  in  the  island,  that  the 
work  of  excavating  could  begin.  In  the  comparatively  short  per- 
iod of  eight  years  not  only  have  two  vast  palaces  been  unearthed 
at  Knossos  and  Phaestos,  by  Dr.  Evans  and  Professor  Halbherr, 
but  a number  of  smaller  towns  or  villas  have  been  brought  to  light 
at  Zakro,  Palaikastro,  Gournia,  and  Hagia  Triada  by  English 
American,  and  Italian  excavators. 

The  Minoan  civilization,  as  it  has  been  called  by  A.  J.  Evans, 


26 


GREEK  AND  ROMAN  ART 


after  King  Minos,  the  chief  ruler  of  Knossos,  is  coincident  with 
the  bronze  age  in  the  Mediterranean.  The  dating  of  the  various 
periods,  being  dependent  on  the  much  disputed  chronology  of 
Egypt,  can  be  only  provisional.  Roughly  speaking,  it  covers  the 
period  from  the  fourth  millenium  to  about  i loo  B.  C.  Mr.  Evans 
has  conveniently  introduced  three  divisions  which  he  calls  the 
Early  Minoan  period  (before  3000  B.  C.),  Middle  Minoan  period 
(3000-1800  B.  C.),  and  Late  Minoan  period  (1800-1 100  B.  C.)  each  of 
which  in  its  turn  he  subdivides  into  three  smaller  periods,  I,  II, 
and  IIL* 

The  great  climax  in  this  civilization  was  reached  in  the  late 
Minoan  period.  It  was  then  that  Knossos  became  the  great  ruler 
of  the  Aegean,  and  that  the  full  development  of  Minoan  civili- 
zation was  reached.  The  art  of  the  first  Late  Minoan  period 
(1800-1600  B.  C.)  is  marked  by  naturalism  and  delicacy;  that  of 
the  second  (1600-1450  B.  C.)  by  precision  and  grandeur;  in  the 
third  stage  (1450-1 100  B.  C.),  with  the  decline  of  political  power, 
due  to  foreign  invasion,  conventionalism  and  decadence  set  in. 
Crete  no  longer  holds  the  leadership,  and  Mykenae  and  Tiryns 
now  rise  to  power. 

The  advanced  state  of  culture  of  the  people  of  prehistoric 
Greece  has  been  a surprising  revelation  to  archaeologists.  In- 
stead of  leading  a primitive  existence  these  “Minoans”  lived 
in  palaces  almost  modern  in  appointments  and  comforts;  their 
arts  and  crafts  were  highly  developed,  and  they  had  an  advanced 
system  of  writing.  In  comparing  their  art,  at  least  during  the 
best  period,  with  classical  Greek  art  of  the  fifth  and  fourth 
centuries  B.  C.,  what  strikes  us  at  once  is  the  “modern”  spirit  of 
the  work  of  these  earlier  artists.  It  lacks  indeed  the  severe  dig- 
nity and  serenity  of  the  Pheidian  age;  but  in  their  representations 
of  bull-fights,  boxing  matches,  or  scenes  from  animal  life,  there  is 
a buoyant  spirit  which  makes  a strong  appeal  to  our  imagination. 
Moreover,  their  decorative  instinct  was  strongly  developed,  as  is 
shown  by  the  delicate  shapes  and  ornamentation  of  their  vases, 
and  by  the  designs  of  their  architectural  friezes. 

251  MALE  EIGURE,  with  fleur-de-lis  crown;  perhaps  one  of 
the  priest-kings  of  Knossos.  Eragments  of  a painted  re- 
lief of  gesso  duro,  restored.  The  missing  parts  are  indi- 
cated in  a lighter  color.  Late  Minoan  II,  about  1600-1450 
B.  C.  Erom  the  southern  wing  of  the  Palace  of  Knossos. 
In  the  Museum  at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  Vll,  p.  17,  and  X,  p.  2. 

*The  dates  given  throughout  are  those  of  Mr.  A.  J.  Evans. 


PREHISTORICARTINGREECE  27 
252,  253  FRAGMENTS  OF  RELIEFS  in  painted  gesso  duro. 

252  Male  Left  Arm  holding  a pointed  vase. 

253  Male  Right  Shoulder  and  upper  arm. 

Late  Minoan  II,  about  1600-1450  B.  C.  From  the  area 
near  the  room  of  the  olive  press  in  the  Palace  of  Knossos. 
Now  in  the  Museum  at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  VII,  p.  89. 

254  THE  “HARVESTERS  VASE.”  Upper  part  of  a steatite 
vase,  decorated  in  relief  with  a procession  of  harvesters  or 
warriors.  At  the  head  is  a man  clad  in  what  looks  like 
a wicker-work  cuirass.  His  followers  bear  curious  pronged 
objects,  which  are  interpreted  as  winnowing  forks  by  Eng- 
lish archaeologists,  and  as  spears  by  the  Italian  archaeol- 
ogists who  discovered  the  vase.  They  carry  short  knives 
(sickles?)  in  their  girdles,  and  wear  pads  (reapers’  pads?)  on 
their  thighs.  Half-way  is  a man  singing  and  playing  a 
sistrum  of  the  simple  early  Egyptian  form,  while  those  be- 
hind accompany  his  strains.  Late  Minoan  I,  about  1800- 
1700  B.  C.  It  is  probable  that  this  vase  was  originally 
plated  with  gold.  Found  in  the  Palace  of  Hagia  Triada, 
near  Phaestos,  and  now  in  the  Museum  at  Candia,  Crete. 

F.  Halbherr,  Monumenti  antichi  pubhlicati  per  cura  della 
Reale  Accademia  dei  Lincet,  XIII,  1903,  pp.  i6ff,  pis.  I -I  II. 
L.  Savignoni,  Monumenti  antichi,  XIII,  1903;  pp.  78-132. 

255  FRAGMENT  OF  A STEATITE  PYXIS,  with  a relief  re- 
presenting an  altar,  and  a fig-tree  within  a sacred  en- 
closure (?).  Late  Minoan  II,  about  1600-1450  B.  C. 

Found  on  the  slope  of  the  hill  Gypsades,  near  the  Palace  of 
Knossos,  and  now  in  the  Museum  at  Candia,  Crete. 

A.  J.  Evans,  M ycenaean  Tree  and  Pillar  Cult,  in  the  Journal 
of  Hellenic  Studies,  XXI,  1901,  p.  loi. 

256  FRESCO  representing  a scene  from  the  Palace  Circus. 
A girl  toreador  in  cowboy  costume  is  caught  under  the  arm- 
pits  by  the  horns  of  a charging  bull,  and  is  evidently  in  the 
act  of  being  tossed.  A youth  who  seems  already  to  have 
been  thrown  into  the  air  is  turning  a somersault  on  the 
animal’s  back,  while  a girl  behind,  perhaps  intended  to  be 
standing  in  the  middle  of  the  arena,  holds  out  both  hands 
as  if  to  catch  the  flying  figure.  Late  Minoan  II,  about  1600- 
1450  B.  C.  From  the  chamber  overlooking  the  court  of  the 


28 


GREEK  AND  ROMAN  ART 


olive  spout  at  the  Palace  of  Knossos.  Now  in  the  Museum 
at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual, V\\,  p.  94,  and  VIII,  p.  74. 
257-278 

CULT  OBJECTS  and  ornaments  in  faience  (or  native  porcelain) 
and  stone,*  found  in  the  temple  repositories  in  the  Palace  of 
Knossos.  Middle  Minoan  III,  2200-1800  B.  C.  Now  in  the 
Museum  at  Candia,  Crete. 

257  SNAKE  GODDESS.  In  this  goddess  we  may  have  either 

a chthonic  aspect  (as  suggested  by  the  snakes)  of  the  cult 
of  the  same  mother  goddess  whose  worship  is  so  well  illus- 
trated in  Knossos,  or  she  may  be  an  associated  divinity, 
a having  a shrine  of  her  own  within  a large  sanc- 

tuary. 

Parts  of  the  apron,  with  the  lower  curve  of  the  snakes  that 
ran  over  them,  and  the  greater  part  of  the  skirt  are  restored. 
A.  J.  Evans,  British  School  Annual,  IX,  p.  75. 

258  ATTENDANT  or  Votary. 

The  head  and  parts  of  the  flounced  skirt  are  restored. 

British  School  Annual,  IX,  p.  77 

259  REMAINS  OF  A THIRD  FIGURE,  probably  also  a vo- 
tary or  attendant. 

British  School  Annual,  IX,  p.  78. 

Other  fragments  found  with  the  above  show  that  there  were 
originally  more  figures. 

260,  261  Votive  Robes. 

British  School  Annual,  IX,  p.  82. 

262,  263  Votive  Girdles. 

British  School  Annual,  IX,  p.  82. 

264,  265  Votive  Shields. 

266  Marble  Cross. 

British  School  Annual,  IX,  p.  gi. 

267  Marine  Subjects  (flying  fish,  cockle-shells,  nautili,  rocks). 
British  School  Annual,  IX,  p.  69. 

^Unless  otherwise  stated  these  objects  are  in  faience. 


THE  RUINS  OF  THE  PALACE  OF  KNOSSOS  IN  CRETE 


A 


1 


i 


’■■m 


'■H 

i 


PREHISTORICARTIN  GREECE  29 

268  Cup,  with  fernlike  sprays  on  exterior,  and  rose  leaves  in 
relief  above. 

British  School  Annual,  IX,  p.  74,  figs.  53a  and  b. 

269  Cup,  with  fernlike  sprays. 

British  School  Annual,  IX,  p.  74. 

270  Vase  with  spirals,  (restored). 

271  White  and  Brown  Bowl,  with  shields. 

British  School  Annual,  IX,  p.  72,  fig.  49. 

272  White  and  Brown  Bowl. 

British  School  Annual,  IX,  p.  72,  fig.  50. 

273  Two-Handled  Bowl,  with  cockle-shells  in  relief,  (restored). 
British  School  Annual,  IX,  p.  73,  fig.  51. 

274  Two-Handled  Bowl,  with  two  lips,  (restored). 

British  School  Annual,  IX,  p.  73,  fig.  52. 

275,  276  Steatite  Libation  Bowls. 

British  School  Annual,  IX,  p.  41,  fig.  20b  and  d. 

277  Relief,  representing  a cow  suckling  a calf. 

British  School  Annual,  IX,  p.  71. 

278  Relief,  representing  a wild  goat  suckling  her  young,  (re- 
stored). 

British  School  Annual,  IX,  p.  72,  pi.  HI. 


279  HEAD  OF  A BULL.  Part  of  a life-size  relief  in  painted 
gesso  duro.  Late  Minoan  II,  about  1600-1450  B.  C. 
From  the  Palace  of  Knossos,  and  now  in  the  Museum  at 
Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  VI,  p.  52. 

280  MARBLE  HEAD  OF  A LIONESS  (?),  probably  used  as 
a spout  of  a fountain.  The  eyes  and  nostrils  were  filled  with 
inlays  of  jasper.  Late  Minoan  II,  about  1600-1450  B.C. 


30 


GREEK  AND  ROMAN  ART 


Found  in  the  stone  vase  room  in  the  Palace  of  Knossos, 
and  now  in  the  Museum  at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  VI,  p.  31. 

281  THRONE  FROM  THE  PALACE  OF  KNOSSOS,  in  Crete. 
Of  gypsum.  About  1800-1500  B.  C.  Still  in  its  original 
position  in  the  council  room  of  the  palace. 

A.  J.  Evans,  British  School  Annual,  VI,  pp.  35ff. 

282  STONE  AMPHORA  decorated  with  spiral  bands.  Late 
Minoan  II,  about  1600-1450  B.  C.  Found  in  a sculptor’s 
workroom  in  the  Palace  of  Knossos,  and  now  in  the  Museum 
at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  VII,  p.  90. 

283  ALABASTER  VASE,  of  squat  shape,  decorated  with 
spiral  reliefs,  and  having  handles  in  the  form  of  Mycenaean 
shields.  Found  in  the  northeast  corner  of  the  Throne 
Room  at  Knossos,  and  now  in  the  Museum  at  Candia,  Crete. 
A.  J.  Evans,  British  School  Annual,  VI,  p.  41. 

284  PORTION  OF  A FRIEZE  of  porphyry-like  stone,  from 
the  northwest  angle  of  the  west  wall  of  the  Palace  of 
Knossos.  Late  Minoan  1 1,  about  1600-1450  B.  C.  In  the 
Museum  at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  VII,  p.  55. 

285  PART  OF  A LIMESTONE  FRIEZE,  or  cornice,  with 
rosettes  in  relief.  Late  Minoan  11,  about  1600-1450  B.  C. 
From  the  southern  Propylaeum  of  the  Palace  of  Knossos, 
and  now  in  the  Museum  at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  VI,  p.  14. 

286  LAMP.  Of  purple  gypsum.  About  1500-1400  B.  C.  The 
pedestal  imitates  the  form  of  an  Egyptian  column,  but  the 
design  on  the  rim  is  purely  Minoan  in  character.  Found 
in  a room  of  the  last  period  of  the  Palace  of  Knossos.  In 
the  Museum  at  Candia,  Crete. 

The  lower  part  of  the  pedestal  is  restored. 

A.  J.  Evans,  British  School  Annual,  VI,  p.  44. 

287  SMALL  COLUMN  of  purple  gypsum.  Perhaps  part  of 
a pedestal  lamp.  Late  Minoan  II,  about  1600-1450  B.  C. 


PREHISTORIC  ART  IN  GREECE  3I 

The  decoration  recalls  that  of  certain  painted  vases  of  the 
close  of  the  first  late  Minoan  period.  From  the  northeast 
house  at  Knossos,  and  now  in  the  Museum  at  Candia,  Crete. 
A.  J.  Evans,  British  School  Annual,  IX,  p.  8. 

288  WEIGHT  of  purple  gypsum,  with  an  octopus  in  relief  on 
each  side.  Probably  a Minoan  standard.  Late  Minoan  II, 
about  1600-1450  B.  C.  Eound  in  one  of  the  West  Maga- 
zines of  the  Palace  of  Knossos.  In  the  Museum  at  Candia, 
Crete. 

A.  J.  Evans,  British  School  Annual,  VII,  p.  42. 

289  TRITON  SHELL.  Of  alabaster,  with  small  perforations 
around  its  mouth  for  metal  attachment.  Late  Minoan  II, 
about  1600-1450  B.  C.  From  the  stone  vase  room  of 
the  Palace  of  Knossos.  In  the  Museum  at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  VI,  p.  31. 

290  VASE  OF  VARIEGATED  MARBLE  (restored).  Late 
Minoan  II,  about  1600-1450  B.  C.  Erom  the  room  of  the 
stone  vases  in  the  Palace  of  Knossos.  Now  in  the  Museum 
at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  VI,  p.  31. 

291  MARBLE  RHYTON  OR  EILLER,  with  a perforation  be- 
low, and  the  upper  part  in  a separate  piece,  (restored).  Late 
Minoan  II,  about  1600-1450  B.  C.  The  fluting  recalls  the 
abacus  of  the  Treasury  of  Atreus.  Erom  the  room  of  the 
stone  vases  in  the  Palace  of  Knossos,  and  now  in  the  Mu- 
seum at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  VI,  p.  31. 

292  MARBLE  RHYTON  OR  EILLER,  of  funnel-shaped  form, 
with  a perforation  below,  (restored).  Late  Minoan  II, about 
1600-1450  B.  C.  Erom  the  room  of  the  stone  vases  in  the 
Palace  of  Knossos.  Now  in  the  Museum  at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  VI,  p.  31. 

293  RHYTON  OR  FILLER,  of  variegated  marble,  (restored). 
Late  Minoan  II,  about  1600-1450  B.  C.  Found  in  the 
hall  of  the  double  axes,  in  the  Palace  of  Knossos,  and  now 
in  the  Museum  at  Candia,  Crete. 


32  GREEKANDROMANART 

294  RHYTON  OR  FILLER.  Of  variegated  marble,  with  a 
small  perforation  below,  (restored).  Late  Minoan  II,  about 
1600-1450  B.  C.  From  the  room  of  the  stone  vases  in  the 
Palace  of  Knossos.  Now  in  the  Museum  at  Candia,  Crete. 
A.  J.  Evans,  British  School  Annual,  VI,  p.  31. 

295  STEATITE  LIBATION  TABLE,  inscribed  with  charac- 
ters belonging  to  the  linear  type  of  Cretan  writing.  About 
2000  B.  C.  From  the  Diktaean  Cave  in  Crete,  and  now  in 
the  Museum  at  Candia. 

Only  the  right-hand  corner  has  been  preserved.  In  the 
cast  the  missing  portions  have  been  restored. 

A.  J.  Evans,  Journal  of  Hellenic  Studies,  XVII,  p.  352. 

296  TABLET  WITH  LINEAR  SCRIPT.  Of  sun-baked  clay. 
Only  a few  characters  of  this  writing  have  as  yet  been  in- 
terpreted. From  the  frequency  of  ciphers  on  these  tablets 
it  is  evident  that  a great  number  of  them  refer  to  accounts 
relating  to  the  royal  stores  and  arsenal.  The  numerals 
show  a certain  parallelism  with  the  Egyptian.  Thus  the 
upright  lines  stand  for  units,  the  horizontal  lines  for  tens. 
The  curvature  which  the  latter  sometimes  show  may  per- 
haps point  to  a derivation  from  the  Egyptian  form. 
From  the  Palace  of  Knossos,  and  now  in  the  Museum  at 
Candia,  Crete. 

297  TABLET  WITH  LINEAR  SCRIPT.  Of  sun-baked  clay. 
On  this  tablet  two  ox-heads  are  combined  with  a vase  of  the 
Vapheio  type,  recalling  the  ox-heads  and  vessel  of  similar 
type  that  occur  among  the  Keft  offerings  in  Egypt.  Fif- 
teenth century  B.  C.  From  the  Palace  of  Knossos,  and  now 
in  the  Museum  at  Candia,  Crete. 

A.  J.  Evans,  British  School  Annual,  IX,  p.  58. 


341  THE  LIONS  OVER  THE  GATE  OF  MYKENAE.  Of 
greenish  gray  limestone.  The  relief  represents  two  lionesses 
resting  their  forepaws  on  an  altar-like  base,  in  the  centre 
of  which  is  placed  a column  of  characteristic  Mycenaean 
type,  with  the  shaft  larger  at  the  top  than  at  the  bottom. 
The  heads  of  the  lionesses,  which  were  turned  towards  the 
spectator,  were  made  separately,  and  have  disappeared 
The  composition  has  the  character  of  a heraldic  design. 
Perrot  et  Chipiez,  Histoire  de  V Art,  pp.  yqqff,  pi.  XIV. 


PREHISTORICART  IN  GREECE  33 

342  A.  B,  THE  COLUMNS  FROM  THE  FACADE  OF  THE 
TREASURY  OF  ATREUS,  the  most  important  of  the  so- 
called  beehive  tombs  at  Mykenae,  as  restored  in  the  British 
Museum.  About  1500  B.  C.  These  restorations  are  com- 
posed of  the  original  fragments  (or  casts  of  the  original 
fragments)  of  the  two  columns  which  are  in  the  British 
Museum  and  other  collections,  the  missing  parts  being 
filled  out  in  plaster.  On  the  surviving  fragments  the  scheme 
of  the  decoration  is  indicated  with  sufficient  clearness  to 
make  it  possible  to  reproduce  the  complete  pattern,  as  has 
been  done.  These  columns  show  the  characteristic  shape 
of  the  columns  of  the  Mycenaean  age,  the  shaft  being  of 
larger  diameter  at  the  top  than  at  the  bottom.  The  bases 
of  the  columns  are  still  in  situ.  Most  of  the  fragments  are 
in  the  British  Museum,  but  there  are  smaller  pieces  in 
.Athens,  Berlin,  Munich,  and  Karlsruhe. 

In  gallery  38. 

Perrot  et  Chipiez,  Histoire  de  V Art,  VI,  pp.  6o8flP. 

343,  344  FRAGMENTS  FROM  THE  “TREASURY  OF  AT' 
REUS,”  at  Mykenae,  and  now  in  the  British  Museum. 

343  Fragment  of  Red  Marble,  decorated  with  three 
bands  of  wave  pattern,  separated  by  mouldings.  Its  orig- 
inal position  was  probably  above  the  doorway  of  the  build- 
ing. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  i. 

344  Fragment  of  Green  Limestone,  decorated  with 
a band  of  wave  pattern,  separated  by  mouldings,  and  a 
band  of  lozenges.  It  probably  formed  part  of  the  archi- 
trave, over  the  entrance  to  the  building. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British  Mu~ 
seum,  I,  No.  2. 

345  FRAGMENT  from  the  “Treasury  of  Minyas  ” at  Orchom- 
enos.  About  1500  B.  C.  Still  in  the  interior  of  the  Treas- 
ury. 

Perrot  et  Chipiez,  Histoire  de  V Art,  VI,  pp.  54off,  figs. 
220-22 1 . 

Of  the  foregoing  the  colored  reproductions.  Nos.  251-253, 


34 


GREEK  AND  ROMAN  ART 


256,  279,  280,  284-294,  were  made  by  Helvor  Bagge;  Nos. 
257-278  by  E.  Gillieron. 

In  the  same  room  are  exhibited  some  original  vases,  vase- 
fragments,  and  a few  bronzes,  from  the  excavations  conduct- 
ed by  Mrs.  Harriet  Boyd  Hawes,  at  Gournia  and  Vasiliki, 
in  Crete. 

The  electrotype  reproductions  of  gold  and  silver  objects 
from  Mykenae  will  be  included  in  the  catalogue  of  metal 
reproductions. 


GREEK  AND  ROMAN  SCULPTURE 


ARCHAIC  PERIOD 

SEVENTH  CENTURY  TO  ABOUT  480  B.  C. 

(in  gallery  21) 

The  beginnings  of  Greek  sculpture  may  be  placed  in  the 
seventh  century  B.  C.;  the  sixth  century  is  one  of  con- 
tinuous and  rapid  progress;  the  lower  limit  of  the  archaic 
period  is  marked  by  the  close  of  the  Persian  wars  (about 
480  B.  C.).  We  are  fortunate  enough  to  possess  numerous  statues 
and  reliefs,  which  form  a fairly  complete  series  illustrating  the 
gradual  development  of  early  Greek  sculpture.  With  the  help 
of  these  we  can  follow  this  growth  step  by  step,  observe  the  con- 
ditions which  fostered  it,  and  trace  the  struggle  of  the  workman 
with  his  material  and  with  tradition,  which  kept  him  confined 
within  narrow  limits  until  he  was  able  to  strike  out  his  own  line. 
The  rude  types  from  which  the  development  started  can  generally 
be  traced  to  foreign  not  Greek  origin.  It  was  only  natural  that 
the  ancient  civilizations  of  the  Orient  should  exercise  a certain 
influence  on  a young  art  just  starting  on  its  path.  The  Phoeni- 
cians, the  great  traders  of  the  Mediterranean  in  these  early  times, 
were  continually  bringing  wares  from  Egypt  and  Assyria  to  Greece; 
The  Greeks  themselves  had  founded  a colony  at  Naukratis  upon 
the  Delta  of  the  Nile.  Such  intimate  contact  at  a period  of  great 
receptivity  could  only  result  in  some  borrowing  on  the  part  of  the 
Greeks.  But  this  fact  in  no  way  detracts  from  the  originality 
of  Greek  sculptors.  Their  inventiveness  and  innate  artistic  sense 
are  sufficiently  attested  by  the  perfecting  of  the  rude  and  primi- 
tive figures  which  served  them  as  models.  Thus,  of  the  two  chief 
types  which  everywhere  occupied  the  Greek  sculptor  during  this 
early  period — the  nude  male  figure  and  the  draped  female  figure — 
the  former  was  certainly  borrowed  from  Egyptian  art.  But  the 
Greek  artist  only  took  over  this  ready-made  type  in  order,  one 


36  GREEK  AND  ROMAN  SCULPTURE 

by  one,  to  solve  the  problems  which  it  presented.  Gradually  the 
figures  lose  their  rigid  attitude,  the  modelling  of  the  human  body 
is  more  and  more  truthfully  rendered,  and  an  animation  is  imparted 
to  the  face,  though  at  first  this  was  attained  only  by  the  stere- 
otyped '‘archaic  smile.’' 

In  this  catalogue  the  casts  illustrating  archaic  Greek  art  have 
been  classified  in  three  main  divisions — first,  the  works  of  the 
schools  of  Asia  Minor  and  the  Aegean  islands;  second,  those  of 
the  schools  of  Greece  proper  (excluding  Attica),  the  adjacent  is- 
lands, Magna  Graecia,  and  Sicily;  and  third,  those  of  the  Attic 
school.  This  is  not  merely  a convenient  geographical  division, 
but  it  is  indicative  of  the  different  artistic  currents  which  seem 
to  have  formulated  themselves  in  the  second  half  of  the  sixth 
century  B.  C.  On  the  one  hand  we  have  works  of  severe  and 
sober  style,  of  sturdy  types,  bold  and  almost  harsh  lines,  dis- 
tinguished more  for  their  strength  and  precision  than  for  their 
charm.  These  belong  to  the  “Doric”  style,  which  chiefly  dom- 
inated the  western  part  of  the  Greek  world,  particularly  the 
Peloponnesos.  The  “Ionic”  style  was  developed  in  Asia  Minor 
and  the  Aegean  Islands.  Here  we  find  more  harmonious  com- 
position, full,  rounded  forms,  a flow  of  lines  and  delicacy  of  treat- 
ment, coupled  with  want  of  precision  in  details.  The  best  results 
in  Doric  art  are  seen  in  the  nude  male  figures,  which  afforded  good 
opportunity  for  the  exercise  of  vigorous  and  accurate  modelling. 
The  draped  female  figure  with  the  rich  complication  of  the  folds 
of  its  garments,  offered  the  fullest  scope  to  the  Ionian  artist. 

To  understand  archaic  Greek  sculpture  we  must  bear  in  mind 
these  two  different  tendencies,  without,  however,  insisting  too 
much  on  the  sharpness  of  their  dividing  line.  Though  a char- 
acteristic product  of  either  the  Doric  school  or  the  Ionic  will  bear 
out  the  distinctive  qualities  mentioned,  there  are  many  inter- 
mediate works  which  show  traces  of  both  trends,  and  thus  serve 
as  links  between  the  opposing  styles. 

The  relation  of  Attic  sculpture  to  these  two  schools  is  of  special 
interest.  At  first,  it  develops  along  lines  of  its  own;  but  in  the 
second  half  of  the  sixth  century  it  is  strongly  influenced  by  the 
rising  Ionic  school,  and  the  chief  object  of  the  Athenian  sculptor 
is  to  attain  elegance  in  drapery,  grace  of  gesture,  and  delicacy 
of  finish.  The  best  examples  of  this  period  in  Attic  art  are  the 
series  of  female  draped  statues  found  on  the  Akropolis  of  Athens. 
Owing  to  the  remnants  of  paint  on  these  statues,  they  cannot  be 
cast,  and  we  have,  therefore,  unfortunately,  no  examples  in  our 
collection.  At  the  beginning  of  the  fifth  century  Peloponnesian 
influence  is  felt,  and  the  Athenian  artist  now  learns  vigorous 
drawing,  firm  contours,  and  powerful  composition.  Instead  of 


ARCHAIC  PERIOD 


37 

the  smiling  draped  figure,  the  male  athletic  type  becomes  his 
ideal.  But  through  both  stages,  Attic  sculpture  retains  its  own 
individuality,  and  this  enables  it  to  fall  subject  to  neither  school, 
but,  as  we  shall  see  later,  to  blend  the  different  traits  into  one 
harmonious  whole. 


SCHOOLS  OF  ASIA  MINOR  AND  THE 
AEGEAN  ISLANDS 

349  PRIMITIVE  STATUE  OF  A WOMAN,  found  at  Delos. 
According  to  the  inscription  which  is  engraved  on  the 
garment,  it  was  dedicated  by  Nikandre  of  Naxos  to  Artemis. 
Seventh  century  B.  C.  In  the  National  Museum,  Athens. 
Th.  Homolle,  Bulletin  de  correspondance  hellenique,  111, 
1879,  pi.  I,  p.  3 and  99. 

350  STATUE  OF  HERA  (?)  of  an  extremely  primitive  type, 
though  the  inscription  on  the  garment  shows  that  the  fig- 
ure itself  cannot  be  earlier  than  the  middle  of  the  sixth  cen- 
tury B.  C.  The  inscription  reads:  XY]pap.uY]q  p.’av£0(Y])x(£)v 
TYjprjt  ayaXpicz,  “Cheramyes  dedicated  me  as  a statue  to 
Hera.’'  Found  in  the  temple  of  Hera  at  Samos,  and  now 
in  the  Museum  of  the  Louvre. 

P.  Girard,  Bulletin  de  correspondance  hellenique,  IV,  1880, 
pis.  XIII,  XIV,  p.  483. 

351  NIKE.  The  earliest  extant  statue  of  the  goddess  of  vic- 
tory. Perhaps  by  Mikkiades  and  his  son  Archermos  of 
Chios.  Early  sixth  century  B.  C.  Found  in  the  island 
of  Delos,  and  now  in  the  National  Museum,  Athens. 

Perrot  et  Chipiez,  Histoire  de  VArt,W\\,  pp.  298ff,  figs. 
122-125. 

352  FIGURE  OF  APOLLO  (?).  Sixth  century  B.  C.  Found  in 
the  island  of  Melos,  and  now  in  the  National  Museum,  Athens. 
Perrot  et  Chipiez,  Histoire  deV Art,  VIII,  p.  320,  fig.  134. 

353  STATUE  OF  CHARES,  inscribed:  XapY]<;  sip-l  6 KX£(()cjtoc; 
T£ix^o(D)a((j)Y](;  ap^o?  ayaXpia  to(u)  ’AxoXXwvoq.  '‘lam 
Chares,  son  of  Kleisis,  and  ruler  of  Teichioussa.  The  statue 
belongs  to  Apollo.”  Middle  of  the  sixth  century  B.  C. 


38  GREEKANDROMAN  SCULPTURE 

Found  at  Branchidae,  near  Miletos,  and  now  in  the  British 
Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  14. 

354  SEATED  FEMALE  FIGURE.  Found  at  Branchidae, 
near  Miletos.  Sixth  century  B.  C.  In  the  British  Museum. 
A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  9. 

355  BEARDLESS  MALE  HEAD  from  an  archaic  statue. 
Sixth  century  B.  C.  Found  at  Branchidae,  near  Miletos, 
and  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  19. 

356  RELIEF  WITH  DANCING  FIGURES,  probably  part 
of  a frieze.  Sixth  century  B.  C.  Found  at  Karakewi  (Tei- 
chioussa),  near  Branchidae,  and  now  in  the  British  Museum. 
A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  21. 


357-369 

SCULPTURES  FROM  THE  TEMPLE  OF  ASSOS  IN  MYSIA. 
Gray  trachyte.  Sixth  century  B.  C. 

METOPES.  In  the  Museum  of  the  Louvre. 

357  Two  Sphinxes  confronted  in  an  heraldic  scheme. 

358  A Centaur. 

359  A Grazing  Boar. 

Monumenti  dell’  Instituto,  HI,  pi.  XXXIV,  and  Collignon, 
Histoire,  I,  p.  182. 

FRAGMENTS  OF  THE  FRIEZE  which  decorated  the 
architrave.  Nos.  362  and  369  in  the  Museum  of  Fine 
Arts,  Boston;  the  others  in  the  Museum  of  the  Louvre. 

360  Banquet  Scene. 


ARCHAICPERIOD  39 

361  Contest  of  Herakles  and  Triton  in  the  presence  of  the 
Nereids. 

362  Herakles  and  Iolaos  pursuing  Centaurs. 

363  Three  Centaurs. 

364  Two  Centaurs. 

365  Two  Bulls. 

366  A Lion  Attacking  a Bull. 

367  A Lion  Attacking  a Hind. 

368  A Sphinx. 

369  Two  Sphinxes  confronted  in  an  heraldic  scheme. 

For  362  and  369  cf.  Joseph  T.  Clarke,  Report  oj  Investiga- 
tions at  Assos,  1881,  Boston,  1882.  For  the  others,  cf. 
Monumenti  delV  Instiiuto  HI,  pi.  XXXIV,  and  Collignon, 
Histoire,  I,  pp.  i82flF. 


370  ARCHAIC  FEMALE  HEAD,  found  at  Delos.  In  the  Na- 
tional Museum,  Athens,  No.  123. 

Th.  Homolle,  Bulletin  de  correspondance  hellenique,  1879, 
pi.  VH  I,  and  1880,  p.  36,  No.  2. 

371  RELIEF  FROM  SAMOTHRAKE.  This  probably  dec- 
orated the  arm  of  a chair,  and  represents  Agamemnon  with 
his  herald  Talthybios  and  Epeios  (the  builder  of  the  wooden 
horse).  The  names  are  inscribed.  Second  half  of  the 
sixth  century  B.  C.  Found  on  the  island  of  Samothrake, 
and  now  in  the  Museum  of  the  Louvre. 

Collignon,  Histoire,  I,  pp.  i84ff,  fig.  87. 

372-375  FRAGMENTS  OF  RELIEFS  from  the  base  of  a sculp- 
tured column  of  the  early  Temple  of  Artemis  at  Ephe- 
sos,  and  now  in  the  British  Museum.  This  temple,  which 
was  discovered  by  J.  T.  Wood,  was  probably  begun  early 
in  the  sixth  century  B.  C.  by  the  architects,  Theodoros, 
Chersiphron  and  Metagenes.  It  was  burned  in  356  B.  C., 


40  GREEK  AND  ROMAN  SCULPTURE 

and  another  temple  was  built  to  replace  it.  (For  remains 
from  this  later  temple  see  Nos.  736-738.) 

372  Upper  Part  OF  A Male  Figure. 

373  Lower  Part  of  a Male  Figure. 

374  Head  of  a Female  Figure. 

375  Middle  Part  of  a Female  Figure. 

It  is  not  certain  whether  these  fragments  originally  belonged 
together.  In  the  original,  immediately  below  the  sculp- 
tures, are  fragments  of  a moulding  inscribed  with  letters 
which  have  been  restored  as  Ba(aiXeuc;)  Kp(otao<;)  av(£0Y]y.)£v, 
“ King  Croesus  dedicated  (the  column).’'  It  is  known 
from  a statement  of  Herodotos  (1, 92)  that  Croesus  gave  most 
of  the  columns  of  the  temple  of  Ephesos,  and  it  is  probable 
that  they  were  inscribed  with  dedicatory  inscriptions,  of 
which  we  here  have  fragments.  The  columns  dedicated  by 
Croesus  must  be  earlier  than  the  date  of  his  fall,  which 
occurred  in  546  B.  C. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  29,  4,  5,  6,  7. 

376-382 

SCULPTURES  FROM  XANTHOS,  Lycia,  now  in  the  British 
Museum. 

376  RELIEFS  FROM  THE  HARPY  TOMB.  They  represent 
funerary  scenes,  offerings  to  deities,  winged  beings  bearing 
away  the  souls  of  the  dead,  and  mourning  survivors. 

Second  half  of  the  sixth  century  B.  C. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  1,  No.  94. 

377  FRIEZE  WITH  A PROCESSION,  consisting  of  a chariot 
and  a group  of  draped  figures.  It  probably  belonged  to  a 
tomb,  and  represents  a funeral  procession.  Second  half 
of  the  sixth  century  B.  C.  Eound  built  into  a wall  on  the 
Akropolis  of  Xanthos. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  1,  No.  86. 


376 — THE  HARl'Y  TOMB  IN  ITS  PRESENT  CONDITION,  WITH  THE  FRIEZE  REMOVED 
FROM  BENNDORF  UNI)  NIEMANN,  Reiseu  in  Ljkien 


T 


1 


#1 


ARCHAICPERIOD  4I 

378  A-C  SLABS  FROM  A FRIEZE  OF  ANIMALS  AND 
SATYRS. 

A.  Satyr  in  combat  with  a wild  boar  (in  two  pieces), 

B.  Lion  Devouring  a Deer. 

C.  Lynx. 

Of  limestone.  End  of  the  sixth  century  B,  C.  Found 
built  into  the  wall  of  the  Akropolis  at  Xanthos. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  81. 

379  FRIEZE  OF  COCKS  AND  HENS.  Of  limestone.  End 
of  the  sixth  century  B.  C.  Found  built  into  the  wall  of  the 
Akropolis  at  Xanthos. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  82. 

380  A-D  RELIEFS  FROM  A SEPULCHRAL  CHEST  (soros). 

A.  (South  Side)  Lion  struggling  with  a bull. 

B.  (East  Side).  A Horseman,  with  an  attendant,  and  a 
warrior. 

C.  (North  Side)  Lioness  playing  with  her  cubs. 

D.  (West  Side)  A Man  struggling  with  a lion. 

Of  limestone.  Sixth  century  B.  C. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  80. 

381  A,  B GABLE  OF  A TOMB,  with  sphinxes  and  lions  in  re- 
lief. Of  limestone.  Sixth  century  B.  C. 

This  relief  is  exhibited  in  two  sections. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  Nos.  89,  90. 

382  GABLE  OF  A TOMB.  Ionic  capital,  surmounted  by  a 
siren,  between  two  male  figures.  Of  limestone.  Sixth 
century  B.  C. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  93. 

For  later  sculptures  from  Xanthos  see  Nos.  554-559. 


383  THE  '‘LEUKOTHEA  RELIEF.”  Grave  monument  with 
a domestic  scene.  About  500  B.  C.  In  the  Villa  Albani, 
Rome. 

ResTORATiONs:  On  the  sitting  figure  the  nose,  lips,  and  part 
of  the  right  hand.  On  the  small  figure  held  by  her,  the 


42  GREEK  AND  ROMAN  SCULPTURE 

right  hand,  left  lower  arm  and  hand.  On  the  large  stand- 
ing figure  opposite,  the  face,  both  hands,  and  part  of  the 
object  held. 

Helbig,  Guide,  II,  No.  762. 

384  GRAVE  STELE  BY  ALXENOR.  The  deceased  is  re- 
presented playing  with  his  dog.  The  inscription  on  the 
base  of  the  stele  (not  shown  in  the  cast)  reads: 

£'7u(o)tY]a£V  6 Na^toq,  oCkV  £at0£c:(6£)  (“Alxenor  the  Naxian 
made  this,  only  look  at  it!’’).  Beginning  of  the  fifth  cen- 
tury B.  C.  Found  at  Orchomenos,  Boeotia,  and  now  in  the 
National  Museum,  Athens. 

Collignon,  Histoire,  I,  p.  255,  fig.  124. 

385  GRAVE  STELE,  representing  a girl  holding  a dove.  Be- 
ginning of  the  fifth  century  B.  C.  Found  on  the  Esquiline, 
and  now  in  the  Palazzo  dei  Conservatori,  Rome. 

Helbig,  Guide,  I,  No.  590. 

386  TERRACOTTA  RELIEF,  representing  Bellerophon,  mount- 
ed on  Pegasos,  slaying  the  Chimaera.  First  half  of  the  fifth 
century  B.  C.  Found  in  Melos,  and  now  in  the  British  Mu- 
seum. 

H.  B.  Walters,  Catalogue  0^  Terracottas  in  the  British  Mu- 
seum, B 364.  *’ 

387  TERRACOTTA  RELIEF  representing  a man  and  woman 
conversing  (Alkaios  and  Sappho?).  First  half  of  the  fifth 
century  B.  C.  Found  in  Melos,  and  now  in  the  British 
Museum. 

H.  B.  Walters,  Catalogue  of  Terracottas  in  the  British  Mu- 
seum, B 367,  pi.  XIX. 

388  TERRACOTTA  RELIEF  representing  Perseus  riding 
off  after  slaying  Medusa.  First  half  of  the  fifth  century 
B.  C.  Found  in  Melos,  and  now  in  the  British  Museum. 

H.  B.  Walters,  Catalogue  of  the  Terracottas  in  the  British 
Museum,  B 365. 

389  FRAGMENT  OF  A TERRACOTTA  VOTIVE  RELIEF, 
representing  Hermes  standing  opposite  Aphrodite,  on  whose 
right  arm  stands  a small  figure  of  Eros.  Early  fifth  century. 
Found  near  Rosarno,  Calabria.  Now  in  Munich. 

Michaelis,  Annali  delV  Institute,  1867,  p.  93,  pi.  D. 


ARCHAIC  PERIOD 


43 


SCHOOLS  OF  GREECE  PROPER  (EXCLUDING 
ATTICA),  THE  ADJACENT  ISLANDS, 

MAGNA  GRAECIA,  AND  SICILY 

390  BRONZE  RELIEF  of  the  seventh  century  B.  C.  The 
decoration  is  in  four  bands,  and  consists  of  (i)  three  eagles, 
(2)  two  griffins,  (3)  Herakles  attacking  a Centaur,  (4) 
the  ‘‘Persian  Artemis.”  Found  at  Olympia,  and  now  in 
the  National  Museum,  Athens. 

Olympia,  Die  Bronien,  text  p.  100,  No.  696,  and  Atlas,  pi. 
XXXVIII. 

391  BRONZE  STATUETTE  OF  A EUMENID  (?)  holding 
a serpent.  Of  very  archaic  style.  Seventh  century  B.  C. 
It  probably  served  as  the  support  of  a tripod.  Found  at 
Olympia,  and  now  in  the  Museum  there. 

Olympia,  Die  Bronien,  Atlas,  pi.  VI  I,  74;  text  p.  23. 

392  UPPER  PART  OF  A FEMALE  HEAD  (perhaps  Hera), 
wearing  a kalathos,  or  crown.  Of  terracotta.  Seventh 
century  B.  C.  Found  at  Olympia,  and  now  in  the  Museum 
there. 

Olympia,  Die  Bildwerke,  Atlas,  pi.  VII,  i. 

393  FRAGMENTARY  FEMALE  HEAD,  probably  from  the 
image  of  Hera  worshipped  in  the  Heraion  at  Olympia.  Of 
yellowish  white  limestone.  End  of  the  seventh  century 
B.  C.  Found  in  the  neighborhood  of  the  Heraion  at  Olym- 
pia, and  now  in  the  Museum  there. 

Olympia,  Die  Bildwerke,  Atlas,  pi.  I,  text  pp.  iff. 

394  PERSEUS  CUTTING  OFF  THE  HEAD  OF  MEDUSA. 
Metope,  of  tufa,  from  temple  C at  Selinus.  About  600  B.  C. 
In  the  Museum  of  Palermo. 

Restorations:  On  the  female  figure,  most  of  the  neck, 
breast  and  knees;  on  Perseus,  middle  part  of  the  sword, 
parts  of  the  hands  and  arms. 

Benndorf,  Die  Metopen  von  Selinunt,  pi.  I,  pp.  44ff. 

395  FIGURE  OF  APOLLO  (?).  Early  part  of  the  sixth  cen- 
tury B.  C.  From  Greece,  probably  from  Boeotia.  In  the 
British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  205. 


44  GREEK  AND  ROMAN  SCULPTURE 

396  APOLLO  OF  TENEA.  Early  part  of  the  sixth  century 
B.  C.  Found  on  the  site  of  Tenea,  near  Corinth,  and  now 
in  the  Glyptothek,  Munich. 

Furtwangler,  Beschreibung  der  Glyptothek,  No.  47. 

397  HEAD  OF  APOLLO  (?).  Sixth  century  B.  C.  From  the 
Temple  of  Apollo  Ptoos,  in  Boeotia  In  the  National  Mu- 
seum, Athens. 

Kavvadias,  Catalogue,  No.  15. 

398  HEAD  OF  A YOUTH.  Sixth  century  B.  C.  Found  at 
Epidauros,  and  now  in  the  National  Museum,  Athens. 
Kavvadias,  Catalogue,  No.  63. 

399  FEMALE  HEAD,  found  in  the  temple  of  Apollo  Ptods, 
Boeotia.  Sixth  century  B.  C.  In  the  National  Museum, 
Athens. 

Kavvadias,  Catalogue,  No.  17. 

400  BRONZE  HEAD  OF  A YOUTH  (or  Aphrodite?).  Sixth 
century  B.  C.  Found  at  Kythera,  and  now  in  the  Berlin 
Museum. 

Collignon,  Histoire,  I,  p.  240,  fig.  116. 

401  PEDIMENT  OF  THE  TREASURY  OF  THE  MEGAR- 
lANS  at  Olympia.  The  subject  is  the  contest  of  gods  and 
giants.  Of  limestone.  Sixth  century  B.  C.  In  the  Mu- 
seum at  Olympia. 

The  inscription  MEP[AP]EQN  was  found  with  the  frag- 
ments of  the  Treasury,  but  belongs  to  a much  later  (Hel- 
lenistic) period. 

Olympia,  HI,  Die  Bildwerke,  Atlas,  pis.  II,  HI,  IV. 

402  GRAVE  STELE,  of  pyramidal  shape.  Of  bluish  marble. 
The  upper  part  is  broken  off.  The  interpretation  of  the 
reliefs  is  doubtful.  Sixth  century  B.  G.  Found  at  Sparta, 
and  now  in  the  Museum  there. 

Tod  and  Wace,  Catalogue  of  the  Sparta  Museum,  p.  132, 
No.  I,  figs.  26  and  27. 

403  GRAVE  RELIEF,  representing  either  the  deceased,  in 
heroized  form,  or  deities  from  the  lower  world,  and  wor- 
shippers bringing  offerings  to  them.  Sixth  century  B.  C. 


ARCHAICPERIOD  45 

Found  at  Chrysapha  in  Laconia,  and  now  in  the  Berlin  Mu- 
seum. 

Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No.  731. 

404  BRONZE  RELIEF,  representing  a kneeling  archer  (Her- 
akles?).  Sixth  century  B.  C.  Found  at  Olympia,  and  now 
in  the  Museum  there. 

Olympia,  Die  Bronien,  Atlas,  pi.  XL,  717. 

405  BEARDED  HEAD,  from  a statue,  probably  of  Zeus. 
Of  bronze.  Found  during  the  excavation  of  the  temple  of 
Zeus  at  Olympia,  and  now  in  the  Museum  there. 

Olympia,  Die  Bronien,  Atlas,  pi.  i. 

406  HEAD  OF  A BEARDED  WARRIOR.  About  500  B.  C 
Found  at  Olympia,  and  now  in  the  Museum  there. 

Olympia,  Die  Bildwerke,  Atlas,  pi.  VI,  i and  2. 

407  COLOSSAL  HEAD  OF  A GODDESS,  from  the  Ludovisi 
Collection.  Early  part  of  the  fifth  century  B.  C.  In  the 
Museo  delle  Terme,  Rome. 

The  front  of  the  nose  is  restored. 

Helbig,  Guide,  II,  No,  882. 


408-427 

SCULPTURES  FROM  THE  PEDIMENTS  OF  THE  TEMPLE 
AT  AEGINA.  Until  recently  the  temple  was  thought  to  have 
been  that  of  Athena,  but  inscriptions  found  in  1901  show  that 
it  was  dedicated  to  Aphaia,  an  Aeginetan  goddess.  The  sculp- 
tures were  found  in  1811  by  C.  R.  Cockerell  and  Haller  von  Hal- 
lerstein,  in  the  vicinity  of  the  temple,  and  were  bought  for  Lud- 
wig I,  of  Bavaria,  then  Crown  Prince,  in  the  following  year. 
The  statues  being  in  a very  fragmentary  condition,  they  were 
put  together  and  restored  by  Thorwaldsen  prior  to  their  install- 
ation in  the  Glyptothek,  Munich.  The  present  arrangement  of 
the  casts  follows  his  restoration,  which,  however,  has  been  proved 
incorrect  by  the  discoveries  made  during  the  excavations  of 
Professor  Furtwangler,  in  1901,  when  other  important  fragments 
were  brought  to  light.  Furtwangler  worked  out  another  ar- 
rangement as  the  result  of  his  discoveries,  which  is  shown  in  the 
small  models  in  the  same  room  (Nos.  426,  a,b).  That  arrange- 
ment is  also  somewhat  conjectural.  The  date  of  the  statues  is 
about  490-480  B.  C.  At  that  time  the  Aeginetan  sculptor 


46  GREEK  AND  ROMAN  SCULPTURE 

Onatas  was  at  the  height  of  his  activity,  and  it  is  probable, 
therefore,  that  it  is  to  him  and  his  school  that  the  sculptures 
are  to  be  attributed.  It  will  be  noticed  that  the  figures  from 
the  Eastern  pediment  are  somewhat  larger  and  of  more  advanced 
style  than  those  of  the  western.  They  are  probably  either  of  a 
slightly  later  date,  or  by  the  hand  of  a more  skilful  artist. 

STATUES  FROM  THE  WEST  PEDIMENT.  The  subject  is 
probably  a battle  of  the  Trojan  war.  Beginning  from  the  left 
end,  and  following  in  order,  the  figures  are  as  follows: 

408  FALLEN  WARRIOR  (Glyptothek,  No.  79). 
Restorations:  The  end  of  the  nose,  the  edge  of  the  hair 
under  the  right  ear,  the  right  forearm,  most  of  the  left 
hand,  the  right  leg  from  the  knee  to  the  ankle,  a piece  on 
the  under  side  of  the  right  heel,  the  toes  of  both  feet. 

409  KNEELING  WARRIOR.  (Gl.  78). 

Restorations:  The  crest  of  the  helmet,  the  end  of  the  nose, 
the  right  hand,  the  left  forearm  and  tips  of  the  fingers, 
the  left  foot  and  the  fore-half  of  the  right. 

410  KNEELING  ARCHER  (Gl.  77). 

Restorations:  The  head,  the  left  forearm,  the  right  arm 
from  the  middle  of  the  upper  arm,  the  right  hand,  most  of 
the  pendants  on  front  of  the  armor,  the  edge  of  the  chiton, 
and  the  left  leg  from  the  knee  down. 

41 1 ADVANCING  WARRIOR  (Gl.  76). 

Restorations:  The  head,  the  right  shoulder  with  the  ad- 
joining parts  of  breasts  and  ribs,  the  fingers  of  the  right 
hand,  the  ends  of  the  fingers  of  the  left  hand,  the  greater 
part  of  the  shield,  a piece  on  the  right  leg  from  the  ankle 
halfway  up  to  the  knee,  the  front  part  of  the  right  foot, 
the  toes  of  the  left  foot. 

412  FALLEN  WARRIOR  (Gl.  75). 

Restorations:  The  neck,  the  right  shoulder  and  apiece  of 
the  breast,  the  lower  part  of  the  right  hand,  the  fingers  of 
the  left  hand,  most  of  the  toes,  pieces  in  the  crest. 

413  ATHENA  (Gl.  74). 

Restorations;  The  nose,  the  thumbs,  the  right  hand,  the 
ends  of  two  fingers  of  the  left,  small  pieces  in  the  drapery,  in 
the  aegis,  crest  and  shield. 


ARCHAIC  PERIOD 


47 


414  ADVANCING  WARRIOR  (GI.  80). 

Restorations:  The  end  of  the  nose,  the  crest,  half  of  the 
right  forearm,  the  right  hand,  the  end  of  the  left  thumb,  one 
third  of  the  shield,  both  legs. 

415  KNEELING  ARCHER,  with  Phrygian  cap,  possibly  Paris 
(Gl.  81). 

Restorations:  The  point  of  the  cap,  the  nose,  the  right 
half  of  the  chin,  parts  of  the  fingers  of  both  hands,  the  front 
half  of  the  left  foot. 

416  KNEELING  WARRIOR  (Gl.  82). 

Restorations:  The  head,  the  right  shoulder,  the  fingers 
of  the  right  hand,  the  left  arm  from  just  above  the  elbow, 
the  right  leg  from  the  knee  down,  the  left  knee,  with  part 
of  the  thigh,  the  front  part  of  the  foot,  a small  round  piece 
in  front  of  the  shoulder. 

417  FALLEN  WARRIOR  (Gl.  83). 

Restorations:  The  head,  the  left  arm,  parts  of  the  right 
arm  and  hand,  both  legs  from  the  knee  down. 

STATUES  AND  FRAGMENTS  FROM  THE  EAST  PEDIMENT. 
The  subject  is  probably  the  contest  of  Herakles  and  Telamon 
against  Laomedon  of  Troy. 

418  HERAKLES  (Glyptothek,  No.  84). 

Restorations:  The  end  of  the  nose,  a piece  on  the  back 
under  the  left  shoulder,  several  pendants  of  the  armor,  the 
left  hand,  the  right  forearm,  half  of  the  right  foot,  the  left 
leg  from  the  lower  half  of  the  knee  down. 

419  FALLEN  WARRIOR  (GI.  85). 

Restorations:  The  crest,  part  of  the  nose,  several 
fingers  and  toes,  the  right  leg  from  the  middle  of  the  thigh 
down. 

420  ADVANCING  WARRIOR  (Gl.  86). 

Restorations:  The  head,  both  hands  including  the  wrists, 
the  entire  left  leg,  the  right  heel,  the  shield,  except  where  it 
touches  the  shoulder,  and  the  lower  arm. 

421  WARRIOR  FALLEN  ON  HIS  BACK  (Gl.  87). 
Restorations:  The  head,  the  right  arm,  the  greater  part 
of  the  left  arm  including  the  elbow,  the  shield,  the  entire 


48  GREEK  AND  ROMAN  SCULPTURE 

right  leg,  the  left  leg  from  the  knee  down,  the  piece  of  the 
greave  which  projects  above  the  knee. 

422  STOOPING  FIGURE  (Gl.  88). 

Restorations:  The  nose,  both  arms,  the  greater  part  of  the 
right  foot,  the  left  foot  and  ankle. 

423  HEAD  OF  ATHENA,  from  the  figure  of  the  goddess,  which 
probably  stood  in  the  centre  of  the  pediment  (Gl.  89). 

The  tip  of  the  nose  restored. 

424  HELMETED  HEAD,  probably  from  an  archer  (Gl.  90). 

425  HELMETED  HEAD  from  a fallen  warrior  (Gl.  92). 

426  A,  B MODELS  OF  THE  GROUPS  FROM  THE  EASTERN 
AND  WESTERN  PEDIMENTS,  as  restored  by  Prof.  A. 
Furtwangler.  These  restorations  were  made  after  his  ex- 
cavations on  the  site  of  the  temple,  and  are  based  partly  on 
the  results  of  these  and  partly  upon  a careful  study  of  the 
fragments  in  Munich,  as  well  as  the  notes  and  sketches  left 
by  the  earlier  explorers.  They  are  undoubtedly  much  nearer 
the  original  composition  of  the  groups  than  ThorwaldseiTs 
restorations,  but  are  still  somewhat  conjectural,  notably 
that  of  the  eastern  pediment. 

427  GRIFFIN.  Akroterion  from  one  of  the  corners  of  the 
temple.  In  the  Glyptothek,  Munich. 

The  only  original  portions  of  this  figure  are  the  hind  part 
of  the  body,  the  fore  paws  (not  including  the  feet,  of  which 
only  two  claws  are  ancient),  the  end  of  the  tail,  and  some 
pieces  of  the  left  wing. 

Furtwangler,  Aegina,  pi.  98,  157  (Gl.  96). 


428  HEAD  OF  A YOUTH.  Probably  an  Aeginetan  work  of 
the  beginning  of  the  fifth  century  B.  C.  In  the  Barracco 
Museum,  Rome. 

Barracco  and  H el  big.  Collection  Barracco,  pi.  XXIX. 

429  THE  “STRANGFORD  APOLLO.”  First  half  of  the 
fifth  century  B.  C.  In  style  this  work  bears  some  resem- 
blance to  the  Aeginetan  sculptures.  Said  to  have  been 
found  in  the  island  of  Anaphe.  In  the  British  Museum. 


ARCHAICPERIOD  49 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  206. 

430  HEAD  OF  A WARRIOR.  Roman  copy  of  a Greek  work 
of  about  490-480  B.  C.  Similar  in  style  to  the  Aeginetan 
sculptures.  Probably  from  Italy.  In  the  Glyptothek, 
Munich. 

Restorations:  The  nose,  the  lower  part  of  both  ears,  the 
point  of  the  beard,  the  hair,  and  almost  the  whole  helmet. 
Furtwangler,  Beschreihung  der  Glyptothek^  No.  50. 

ATTIC  SCHOOL 

43  I HEAD  OF  DIONYSOS,  from  a colossal  statue  (cj.  No.  432). 
Sixth  century  B.  C.  Found  at  Ikaria,  Attica,  and  now  in 
the  National  Museum,  Athens. 

C.  D.  Buck,  American  Journal  of  Archaeology,  V,  p.  461, 
fig-  43- 

432  HAND  HOLDING  A KANTHAROS.  Part  of  a colossal 
Statue,  to  which  probably  the  head.  No.  431,  also  belongs. 
Sixth  century  B.  G.  Found  at  Ikaria,  Attica,  and  now  in 
the  National  Museum,  Athens. 

C.  D.  Buck,  American  Journal  of  Archaeology,  V,  p.  466, 
fig-  45- 

433  HEAD  OF  THE  “APOLLO”  TYPE.  Sixth  century  B.  C. 
Perhaps  from  Athens.  In  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum.,  I,  No.  150. 

434  FRAGMENT  OF  A GRAVE  RELIEF,  representing  a 
seated  woman  clasping  the  hand  of  another  woman.  Middle 
of  the  sixth  century  B.  C.  Found  in  Aegina,  and  now  in 
the  Museum  there. 

A.  Furtwangler,  Athenische  Mitteilungen,  VIII,  1883,  pi. 
XVII  2,  p.  375. 

435  GRAVE  STELE  OF  ARISTION.  The  deceased  is  re- 
presented as  a bearded  warrior.  On  the  lower  border  is  in- 
scribed "'Epyov  ’AptaToxXIouq  (“the  work  of  Aristokles”)> 
and  on  the  base  (not  shown  in  the  cast)  the  name  of  the  de- 
ceased ’AptcjTtwvoq,  in  the  genitive.  The  character  of  the 


50  GREEK  AND  ROMAN  SCULPTURE 

letters  of  the  inscription  shows  that  this  is  an  Attic  work  of 
the  latter  part  of  the  sixth  century  B.  C.  On  the  original  are 
extensive  traces  of  coloring.  Found  at  Velanideza  in  Attica, 
and  now  in  the  National  Museum,  Athens. 

Conze,  Attische  Grabreliefs,  1,  pi.  11,  i,  p.  4. 

436  GRAVE  STELE  OF  A WARRIOR.  End  of  the  sixth  cen- 
tury B.  C.  Found  at  Ikaria,  Attica,  and  now  in  the  Na- 
tional Museum,  Athens. 

C.  D.  Buck,  American  Journal  of  Archaeology,  V,  p.9,  pi.  1. 

437  DRAPED  FEMALE  TORSO.  End  of  the  sixth  century 

B.  C.  Found  near  Stamata,  Attica,  and  now  in  the  Na- 
tional Museum,  Athens. 

C.  D.  Buck,  American  Journal  of  Archaeology,  V,  p.  424,  pi. 
XII. 

438  HEAD  OF  ATHENA.  Fragment  of  a group  representing 
the  battle  of  the  Gods  and  Giants,  which  decorated  one  of 
the  pediments  of  the  old  temple  of  Athena  (H ekatompedon) 
on  the  Akropolis  of  Athens.  End  of  the  sixth  century  B.  C. 
Found  on  the  Akropolis,  and  now  in  the  Museum  there. 

Perrot  et  Chipiez,  Histoire  de  V Art,  VI 1 1,  p.  556,  fig.  281. 

439  FRAGMENT  OF  A GRAVE  RELIEF  representing  a 
youth  carrying  a disk  on  his  shoulder.  End  of  the  sixth 
century  B.  C.  Found  near  the  Dipylon  Gate,  and  now  in  the 
National  Museum,  Athens. 

Conze,  Attische  Grabreliefs,  I,  pi.  IV,  p.  5. 

440  BASE  OF  A GRAVE  STELE.  The  deceased  is  represented 
as  a young  horseman.  On  the  sides  are  two  women  and  a 
bearded  man.  End  of  the  sixth  century  B.  C.  Found  at 
Lambrika,  Attica,  and  now  in  the  National  Museum, 
Athens. 

Conze,  Attische  Grabreliefs,  pi.  XL 

441  PORTRAIT  OF  A BEARDED  MAN.  About  500  B.  C. 
Found  in  either  Athens  or  Aegina,  and  now  in  the  Berlin 
Museum. 

Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No. 308. 


446 — the  inscription  of  gortyna  in  situ 

FROM  G.  MARAGHiANNis,  Aiitiquites  cvetoises 


/ 


V. 


* 


9. 


ARCHAICPERIOD  5I 

442  YOUTH  MOUNTING  A CHARIOT.  Fragment  of  a vo- 
tive relief.  About  500  B.  C.  Found  on  the  Akropolis, 
Athens,  and  now  in  the  Akropolis  Museum. 

CoIIignon,  Hisiotre,  I,  p.  377,  fig.  194. 

443  HEAD  OF  HERMES,  from  the  same  relief  as  the  preceding, 
and  also  in  the  Akropolis  Museum. 

CoIIignon,  Hisiotre,  I,  p.  378,  fig.  195. 

444  THE  BIRTH  OF  ERICHTHONIOS.  Terracotta  relief 
of  the  first  half  of  the  fifth  century  B.  C.  From  Athens, 
and  now  in  the  Berlin  Museum. 

Friederichs-Wolters,  No.  120. 

445  STATUETTE  OF  A WOMAN,  from  the  PoIIedrara  tomb, 
Vulci.  Of  tufa.  Archaic  Etruscan.  In  the  British  Museum. 
Dennis,  Etruria,  I,  p.  459. 

446  LAW  CODE  OF  GORTYNA.  This  inscription  was  dis- 
covered by  Dr.  F.  Haibherr  in  1884,  cut  directly  on  a stone 
wall  of  Gortyna,  Crete,  where  it  still  remains.  The  letters 
are  written  in  houstrophedon  style,  that  is,  they  go  from 
left  to  right  and  right  to  left  alternately.  The  alphabet 
is  the  oldest  known  to  us  of  the  Greeks,  and  the  forms  of 
the  letters  are  very  archaic.  The  date  of  the  inscription  is 
not  certain,  but  it  probably  belongs  to  the  beginning  of  the 
sixth  century  B.  C.  The  subjects  dealt  with  in  the  laws  are 
rights  of  property,  payment  for  offences,  rights  of  inherit- 
ance, the  ownership  of  slaves,  divorce,  etc. 

In  Gallery  22. 

A.  C.  Merriam,  American  Journal  of  Archaeology,  I,  1885,  pp. 
324ff,  and  the  references  given  on  p.  328L 
D.  Comparetti,  Monumenti  antichi,  pp.  93ff. 


TRANSITIONAL  PERIOD 

ABOUT  480-450  B.  C. 

(in  gallery  22) 

WE  have  seen  that  up  to  the  Persian  wars  the  history 
of  Greek  sculpture  is  one  of  hard  struggle  and  slow 
growth.  In  all  parts  of  Greece  the  initial  prob- 
lems of  sculpture  in  relief  and  in  the  round  have 
been  attacked  and  variously  solved.  Just  at  this  time  of  ap- 
proaching maturity,  the  Persian  army  threatened  Greece  with 
destruction,  and  had  it  been  successful,  Greek  art  would  probably 
have  stopped  at  its  most  promising  period.  But  the  unexpected 
happened,  and  the  small  army  of  the  Greeks  defeated  the  invad- 
ing hordes  of  the  enemy.  The  enthusiasm  at  the  deliverance 
from  this  danger  resulted  everywhere  in  unprecedented  activity. 
Besides  serving  as  a general  impetus,  the  Persian  invasion  affected 
art  in  another  way.  The  Greek  cities  of  the  East,  less  fortunate 
than  their  western  sisters,  fell  a prey  to  the  Persians,  and,  as  a 
consequence,  we  observe  a reflux  of  Greek  civilization  from  East 
to  West.  The  systematic  development  of  the  Ionian  School  is 
broken  off,  and  though  the  current  of  Ionian  art  can  be  traced 
down  to  the  fourth  century  B.  C.,  Ionian  works  are  in  future 
merely  of  sporadic  occurrence.  It  is  in  the  Greek  mainland  it- 
self that  art  now  centres,  and  that  the  fruits  of  the  long  period  of 
early  training  are  gathered.  But  though  progress  is  rapid,  art 
cannot  proceed  by  sudden  leaps.  Forming  a connecting  link  be- 
tween the  archaic  period  and  that  of  the  great  masters,  came  a 
time  of  transition,  which  may  be  approximately  dated  from  480 
to  450  B.  C.  During  this  period  the  sculptural  works  begin  to 
show  the  great  spirit  of  the  new  epoch,  and  only  a lingering  stiff- 
ness and  occasional  faultiness  in  execution  remind  us  that  com- 
plete mastery  has  not  yet  been  attained. 


TRANSITIONAL  PERIOD 


53 

447,448  THE  TYRANNICIDES  HARMODIOS  AND  ARIS- 
TOGEITON.  Roman  copies  of  a group  erected  at  Athens  to 
commemorate  the  overthrow  of  the  tyrants  (514  B.  C.). 
That  group  was  the  work  of  Kritios  and  Nesiotes,  and  was 
set  up  in  477  B.  C.  to  replace  an  older  one  by  Antenor, 
which  was  removed  by  Xerxes.  In  the  Museum  of  Naples. 
Place  of  discovery  unknown. 

Restorations:  On  Harmodios,  both  arms,  the  left  leg 
from  the  knee  down,  the  right  leg,  the  plinth,  the  tree-trunk; 
on  Aristogeiton,  the  head,  which  is  ancient,  but  does  not 
belong  to  the  statue,  the  left  hand,  three  toes  of  the  left 
foot,  some  small  pieces  in  the  drapery  and  plinth.  The 
original  head  was  bearded,  and  probably  resembled  the  so- 
called  Pherekydes  head  in  the  Museum  at  Madrid  {cf. 
No.  449). 

Frazer’s  Pausanias,  II,  pp.  92-99. 

449  HEAD  CALLED  ‘‘PHEREKYDES.’^  Roman  copy  of  a 
work  of  the  early  part  of  the  fifth  century  B.  C.  This  head 
has  been  supposed  to  be  a copy  of  the  Aristogeiton  in  the 
group  of  the  Tyrannicides  (Nos.  447,  448).  Found  at 
Tivoli,  and  now  in  the  Royal  Museum  at  Madrid. 
Restorations:  The  nose,  the  right  part  of  the  moustache, 
the  left  ear,  half  the  right  ear,  the  whole  bust  from  the  neck, 
including  the  inscription. 

Hiibner,  Antike  Bildwerke  in  Madrid,  p.  no.  No.  176,  and 
F.  Hauser,  Romische  Miiieilungen,  XIX,  1904,  p.  176. 

450  STATUE  OF  A BOY.  About  480  B.  C.  Style  of  Kritios 
and  Nesiotes.  Found  on  the  Akropolis,  Athens,  and  now  in 
the  Akropolis  Museum. 

Lechat,  La  sculpture  attique  avant  Phidias,  p.  452,  fig.  38. 

451  APOLLO  AND  NYMPHS,  HERMES  AND  THE  GRACES. 
Reliefs  found  in  the  island  of  Thasos,  and  probably  from  an 
altar  erected  in  a sanctuary.  Inscription  over  the  door: 
“To  the  Nymphs  and  to  Apollo  leader  of  the  Nymphs, 
sacrifice  whatever  female  or  male  victims  thou  wilt,  but 
neither  the  sheep  nor  the  pig  is  lawful.  The  paean  is  not 
sung.”  Above  this,  in  letters  of  much  later  type:  “Aris- 
tokrates,  the  son  of  Eros.”  Inscription  below  Hermes: 
“To  the  Graces  neither  a goat  nor  a pig  may  be  offered.” 
480-460  B.  C.  In  the  Museum  of  the  Louvre. 

Rayet,  Monuments  de  Vart  antique,  I,  pis.  XX  and  XXL 


54  GREEK  AND  ROMAN  SCULPTURE 

452  HEAD  OF  AN  ATHLETE.  About  470-460  B.  C,  Found 
at  Perinthos,  Thrace.  In  the  Albertinum,  Dresden. 

P.  Herrmaitn,  Athenische  Mitteilungen,  XVI,  1891,  p.  313, 
pis.  IV,  V. 

453  GRAVE  STELE  OF  A WOMAN.  About  460  B.  C.  Found 
on  the  Esquiline,  and  now  in  the  Palazzo  dei  Conservator!, 
Rome. 

Bullettino  comunale,  XV,  1887,  p.  109,  pi.  VI. 

454  GIRL  STARTING  IN  A RACE.  Roman  copy  of  a statue 
of  the  middle  of  the  fifth  century  B.  C.,  which  was  prob- 
ably erected  in  honor  of  the  victor  in  a girls’  race.  In 
the  Vatican. 

Restorations:  The  nose,  and  both  arms  from  above  the 
elbows. 

Helbig,  Guide,  I,  No.  378. 

455  SO-CALLED  “PENELOPE.”  Probably  a grave  mon- 
ument. Roman  copy  of  a statue  of  the  middle  of  the 
fifth  century  B.  C.  In  the  Vatican. 

Restorations:  The  drapery  surrounding  the  head  and  ex- 
tending down  the  left  half  of  the  back,  the  right  hand  and 
knee,  both  feet,  and  the  rocks  on  which  the  figure  is  seated. 
The  face  (nose  restored)  is  ancient,  but  does  not  belong  to 
the  statue. 

Helbig,  Guide,  I,  No.  92. 

456  THE  “SPINARIO.”  Bronze  statue  of  a boy  extracting 
a thorn  from  his  foot.  460-450  B.  C.  Place  of  discovery 
unknown,  and  possibly  the  statue  was  never  buried.  In  the 
Palazzo  dei  Conservatori,  Rome. 

Helbig,  Guide,  I,  No.  617. 

457  THE  SO-CALLED  “ESQUILINE  VENUS.”  Probably  a 
Roman  copy  of  a statue  of  the  fifth  century  B.  C.  Found 
on  the  Esquiline,  Rome,  and  now  in  the  Palazzo  dei  Con- 
servatori. 

Helbig,  Guide,  I,  No.  566. 

458  GRAVE  STELE  representing  the  deceased  with  his  dog. 
First  half  of  the  fifth  century  B.  C.  Provenance  unknown. 
In  the  Museum  of  Naples. 


TRANSITIONAL  PERIOD 


55 

Restorations:  The  end  of  the  nose,  the  right  hand,  a 
piece  in  the  right  arm,  the  greater  part  of  the  left  hand, 
nearly  the  whole  of  the  ring  on  the  left  wrist,  and  a piece  of 
the  stick  above  the  left  hand. 

Perrot  et  Chipiez,  Histoire  de  V Art,  VII  I,  p.  132,  fig.  73. 

459  HEAD  OF  APOLLO.  Roman  copy  of  a work  of  about 
460  B.  C.  Found  near  the  Olympieion  in  Athens,  and  now 
in  the  National  Museum  there.  No.  47. 

R.  Kekul^  Athenische  Mitteilungen,  I,  1876,  pis.  8-10,  p. 
177. 

460  THE  “CHOISEUL-GOUFFIER  APOLLO.”  Roman  copy 
of  a statue  of  about  460  B.  C.  From  the  Choiseul- 
Gouffier  Collection.  In  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  209. 

461  HEAD  OF  APOLLO,  derived  from  the  same  original  as  the 
Apollo  of  the  Choiseul-Gouffier  Collection  (No.  460). 
Found  in  the  temple  of  Apollo,  at  Kyrene.  In  the  British 
Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British  Mu- 
seum, I,  No.  210. 

462  THE  CHARIOTEER  OF  DELPHI.  Of  bronze.  The 
fragments  found  with  the  statue  make  it  probable  that  the 
charioteer  was  driving  a chariot  drawn  by  four  horses. 
On  a stone  belonging  to  the  base  (not  shown  in  the  cast) 
is  the  fragmentary  inscription: 

(x)oXul^(zX6q  p.'  dvl0Y]X£”.  . . 

. . ov  ds?'  euwvup.  ”AxoX(Xdv). 

The  word  xoXul^oc>.6<;  was  at  first  taken  to  be  a proper  name, 
and  it  was  thought  that  the  monument  was  dedicated  by 
Polyzelos,  the  younger  brother  of  the  tyrants  Gelon  and 
Hieron  of  Syracuse.  This  word,  however,  was  found  to  have 
been  substituted  for  another  which  had  been  erased,  and 
there  are  now  various  theories  as  to  its  significance 
and  the  origin  of  the  group.  The  latest  of  these  is 
that  it  is  an  adjective  meaning  “much  beloved.”  The 
word  for  which  it  was  substituted  has  with  some  probability 
been  reconstructed  as  Arkesilas,  the  name  of  a Cyrenaic 
king  (cf.  Washburn,  Berliner  Philologische  IVochenschrift, 
1905,  1358,  and  Svoronos,  the  same,  1549).  This  makes  it 


56  GREEK  AND  ROMAN  SCULPTURE 

possible  that  the  monument  is  identical  with  that  described 
by  Pausanias,  X,  15,  5,  as  dedicated  by  the  Cyrenaeans 
at  Delphi,  representing  Battos,  and  the  work  of  Amphion  of 
Knossos.  Pindar  in  his  fourth  and  fifth  Pythian  odes  cele- 
brates the  victory  of  the  last  Cyrenaic  king  in  a horse-race 
which  took  place  in  462  B.  C.  If  the  above  conjectures  are 
correct,  this  would  give  us  the  approximate  date  of  the 
statue.  The  statue  was  found  at  Delphi  in  1896,  during 
the  excavations  of  the  French,  under  the  direction  of  Th. 
Homolle.  It  is  now  in  the  Museum  at  Delphi. 

Homolle,  Monuments  Plot,  IV,  pis.  XV,  XVI,  pp.  i69ff. 

463  THE  SO-CALLED  “MOURNING  ATHENA.’*  460- 
450  B.  C.  Votive  relief  to  Athena,  erected  on  the  Akropolis, 
Athens,  and  now  in  the  Akropolis  Museum. 

Restorations:  The  upper  left  hand  corner  of  the  slab,  and 
part  of  the  left  forearm. 

E.  A.  Gardner,  Journal  of  Hellenic  Studies,  X,  p.  268. 

464  THE  “MANTUAN  APOLLO.”  Roman  copy  of  a statue 
of  the  middle  of  the  fifth  century  B.  C.  In  the  Museum  of 
Mantua. 

Restorations:  The  left  forearm  and  hand,  the  upper  half 
of  the  tree,  and  the  head  of  the  serpent. 

Diitschke,  Antike  Bildwerke  in  Oberitalien,  IV,  No.  872. 

465  APOLLO  OF  THE  “MANTUAN”  TYPE  (cf.  No.  464). 
Roman  copy  of  a statue  of  the  middle  of  the  fifth  century  B. 
C.  Formerly  in  the  Mazarin  Collection,  and  now  in  the  Mu- 
seum of  the  Louvre. 

Monuments  grecs,  pi.  13. 

466  TERRACOTTA  RELIEF,  representing  the  hunt  of  the 
Kalydonian  boar.  Middle  of  the  fifth  century  B.  C.  Found 
in  Melos,  and  now  in  the  Berlin  Museum. 

Inventarium  der  Terrakotten  des  Berliner  Antiquariums,  No. 

5783- 

467  YOUTH  HOLDING  HIS  HORSE.  Roman  (?)  imitation 
of  a relief  of  about  460  B.  C.  Said  to  have  been  found  in 
Hadrian’s  Villa,  Tivoli,  and  now  in  the  British  Museum. 
Small  bits  are  restored.  The  genuineness  of  this  relief 
has  been  doubted. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  2206. 


TRANSITIONAL  PERIOD 


57 


468-474 

THE  TEMPLE  OF  ZEUS  AT  OLYMPIA.  This  temple  was  be- 
gun  probably  about  470  B.  C.  The  exact  date  of  its  completion 
is  not  certain,  but  it  must  have  been  in  a fairly  finished  state  in 
457  B.  C,  as  we  read  of  the  Spartans  placing  a golden  shield  on 
the  apex  of  the  eastern  pediment  after  the  battle  of  Tanagra, 
which  took  place  in  that  year.  The  temple  was  excavated  first 
on  a small  scale  by  the  French,  in  1829,  and  later  by  the  Germans 
in  1875-81. 

The  sculptural  decorations  of  the  temple  consist  of: 

A.  THE  GROUPS  FROM  THE  TWO  PEDIMENTS.  The 
statues  of  these  groups  were  found  during  the  German  excava- 
tions, in  a mutilated  condition  and  with  many  parts  missing. 
They  are  now  exhibited  in  the  Museum  at  Olympia.  Our  casts 
show  them  as  complete,  following  the  restorations  and  arrange- 
ment which  were  made  under  the  direction  of  Professor  Georg 
Treu,  in  the  Albertinum  at  Dresden. 

468  EASTERN  PEDIMENT  (At  the  eastern  end  of  Hall  38). 
The  subject  of  this  group  is  the  preparation  for  the  chariot- 
race  between  Pelops  and  Oinomaos,  for  the  possession  of  the 
latter’s  daughter,  Hippodameia.  Both  contestants  appear 
before  Zeus  to  take  the  oath  for  fair  play,  such  as  was  re- 
quired of  all  competitors  at  O’ympia  before  they  entered 
the  games.  In  the  centre  stands  Zeus,  his  head  slightly 
turned  towards  Pelops,  whom  he  favored  in  the  contest. 
At  the  side  of  Pelops  is  Hippodameia,  and  on  the  other  side 
of  Zeus  are  Oinomaos  and  his  wife  Sterope.  Beyond  the 
contestants,  on  each  side,  are  their  two  chariots,  with  their 
charioteers,  and  minor  figures  which  have  not  been  identi- 
fied, though  Pausanias  tells  us  that  the  recfning  figure  on 
the  extreme  left  was  a personification  of  the  river  Alpheios, 
and  the  corresponding  one  on  the  right  the  river  Kladeos, 
the  two  streams  which  bounded  the  sacred  enclosure  of 
Olympia.  According  to  Pausanias,  this  group  was  the  work 
of  the  sculptor  Paionios,  of  Mende  in  Thrace,  but  his  attri- 
bution has  been  disputed  by  modern  investigators. 

469  WESTERN  PEDIMENT.  (At  the  western  end  of  Hall  38.) 
This  group  represents  the  contest  between  the  Lapiths  and 
the  Centaurs,  at  the  wedding  feast  of  Peirithoos  and  Deida- 
meia,  where  the  drunken  Centaurs  attempted  to  carry  off 
the  bride  and  the  other  women.  The  struggle  is  represented 


58  GREEK  AND  ROMAN  SCULPTURE 

at  its  height,  with  the  issue  still  uncertain.  In  the  centre 
stands  Apollo.,  the  ancestor  of  the  Lapiths,  who  has  come  to 
aid  them  in  suppressing  the  disorder,  in  the  direction 
towards  which  he  is  pointing,  a youth,  probably  Peirithoos, 
rushes  forward  to  attack  a Centaur  who  holds  a struggling 
woman  in  his  grasp.  If  the  youth  is  Peirithoos,  this  woman 
is  probably  the  bride,  Deidameia.  On  the  other  side  of 
Apollo  a second  youth,  usually  explained  as  Theseus,  the 
friend  of  Peirithoos,  starts  in  the  opposite  direction,  brand- 
ishing an  axe  in  both  hands.  The  remaining  figures  are 
Centaurs  and  Lapith  men  and  women,  to  whom  it  is  not 
possible  to  ascribe  definite  names.  The  sculptures  from 
this  pediment  have  been  ascribed  by  Pausanias  to  the 
artist  Alkamenes,  but  this  attribution  has  also  been  dis- 
puted. 

The  most  complete  description  and  illustrations  of  the  sculptures  in 
these  two  pediments  are  in  the  German  work  on  the  results  of  the 
excavations, entitled — Text  Vol.  Ill,  pp.  44-137;  Atlas,  Vol. 
Ill,  pis.  IX-XXXIV.  The  account  of  them  in  Frazer’s  Pausanias, 
III,  pp,  504-522,  which  includes  an  extensive  bibliography,  is  also 
recommended. 

B.  THE  METOPES.  The  metopes  surrounding  the  exterior 
of  the  temple  were  not  sculptured,  as  they  were  in  the  Parthenon, 
this  form  of  decoration  being  restricted  here  to  the  metopes 
of  the  friezes  which  ran  above  the  inner  porches  at  the  front  and 
rear  of  the  building.  In  each  of  these  friezes  there  were  six 
metopes,  making  twelve  in  all,  which  had  for  their  subjects  the 
twelve  labors  of  Herakles.  Our  selection  of  these  consists  of  five, 
as  follows: 

From  the  East  End: 

470  HERAKLES  AND  ATLAS,  with  the  apples  of  the  Hesper- 
ides. 

Olympia,  Atlas,  HI,  pis.  XL,  10  and  XLI. 

471  HERAKLES  CLEANING  THE  STABLE  OF  AUGEIAS. 
Olympia,  Atlas,  HI,  pis.  XLI  1 1,  12,  and  XLIV,  i and  2. 

From  the  West  End: 

472  HERAKLES  AND  THE  STYMPHALIAN  BIRDS. 
Olympia,  Atlas,  HI,  pis.  XXXVI,  3,  and  XXXVII,  i,  2. 


473  HERAKLES  CAPTURING  THE  CRETAN  BULL. 
Olympia,  Atlas,  HI,  pis.  XXXVI,  4,  and  XXXVII,  3. 


THE  RUINS  OF  THE  TEMPLE  OF  ZEUS  AT  OLYMPIA 


"f 


■ '-xi 
'f*': 


'X 


« 


! 


-i 


1 


j 


TRANSITIONALPERIOD  59 

HERAKLES  AND  THE  NEMEAN  LION. 

Olympia,  Atlas,  III,  pis.  XXXV,  i,  and  XLII,  i,  3. 

Nos.  470,  471,  474  are  in  the  Museum  of  Olympia;  the  frag- 
ments of  Nos.  472  and  473  are  partly  in  the  Museum  of 
Olympia,  partly  in  the  Museum  of  the  Louvre. 


THE  GREAT  PERIOD 

ABOUT  450-380  B.  C. 

(in  galleries  22-24) 

IN  the  second  half  of  the  fifth  century  B.  C.  Greek  art  reached 
its  highest  development.  This  is  the  period  of  Athenian 
ascendancy.  No  city  in  Greece  was  so  vitally  affected  by 
the  Persian  wars  as  Athens.  It  was  chiefly  owing  to  her 
courage  and  intellect  that  Greece  had  been  saved,  and  from  this 
fact  she  naturally  derived  a great  stimulus.  Moreover,  the  Per- 
sian invasion  influenced  her  materially.  The  city  had  been  sacked, 
her  temples  and  public  halls  burned,  and  therefore  great  building 
operations  had  to  be  undertaken.  However,  the  Athenians  had 
not  the  leisure  to  carry  these  out  at  once;  the  walls  of  the  city 
were  erected  in  all  haste,  to  ward  off  a second  invasion;  but  the 
erection  of  temples  had  to  be  postponed  until  the  political  situa- 
tion was  cleared.  Thus  came  about  one  of  the  splendid  coinci- 
dences of  history.  For  in  the  meantime  Athens  became  the  head 
of  the  Confederacy  of  Delos,  formed  for  the  safeguarding  of  Greece 
against  Persia,  and  when  the  danger  was  over,  she  appropriated 
the  funds  of  this  league  for  her  own  uses.  Hence,  at  the  time 
when  Athens  set  to  work  to  rebuild  her  temples  and  porticoes, 
she  had  both  the  finances  to  undertake  them  on  a mag- 
nificent scale,  and  the  men  of  genius  who  could  perform  the  task 
thoroughly  well.  Had  the  work  started  immediately  after  the 
battle  of  Salamis,  Athens  would  not  have  had  the  same  material 
resources,  and  since  Greek  art  had  not  then  reached  its  full  ma- 
turity, the  Parthenon  sculptures  would  have  represented  the  same 
stage  of  development  which  is  shown  by  theAeginetan  and  Olym- 
pian pediments.  As  it  is,  the  monuments  which  within  twenty 
years  changed  the  appearance  of  the  Akropolis  are  of  such  fin- 
ished perfection  that,  even  in  their  mutilated  and  fragmentary 
condition,  they  are  still  accepted  as  the  highest  standards  of  art, 
both  in  architecture  and  in  sculpture. 


THE  GREAT  PERIOD 


6l 


In  Pheidias  the  great  promise  of  Greek  art  found  its  complete 
fulfilment.  He  expressed  in  his  work  the  high  idealism  of  his  age, 
and  to  dignity  and  simplicity  of  conception  he  added  perfection  of 
technique.  Fortunately  his  genius  was  recognized  in  his  own  age. 
During  the  administration  of  Perikles  he  was  made  chief  overseer 
in  all  artistic  undertakings.  Thus  the  most  important  works 
planned  in  Athens  at  this  period  were  entrusted  to  him  and  his 
assistants.  The  result  was  that  Pheidias’  influence  became  wide- 
spread, and  we  can  see  a reflex  of  it  even  in  such  modest  works 
as  the  grave  monuments.  This  is  the  more  fortunate  since  we 
possess  no  extant  sculptures  made  by  Pheidias  himself.  The 
Parthenon  sculptures  indeed  were  probably  designed  by  him, 
but  he  cannot  have  found  time  to  execute  them  with  his  own  hands. 
We  are  thus  dependent  for  our  appreciation  of  him  either  on  more 
or  less  inferior  Roman  copies  of  his  works,  or  on  contemporary 
sculptures  produced  under  the  influence  of  his  genius. 

This  period  is  distinguished  not  only  for  its  monumental  sculp- 
tures, but  also  for  its  single  statues.  Besides  Pheidias,  two  names 
of  sculptors  stand  out  among  the  rest, — Polykleitos  of  Argos 
and  Myron  of  Athens.  With  the  Greeks  themselves,  other 
sculptors,  Alkamenes  for  instance,  were  held  in  almost  equal 
estimation;  but  in  the  absence  of  their  works,  or,  at  least  of  au- 
thenticated copies  from  them,  we  cannot  judge  of  their  activities. 
Polykleitos  is  the  representative  of  the  Peloponnesian  School, 
who,  true  to  his  traditions  and  training,  devoted  himself  to  the 
perfecting  of  the  athletic  type.  Myron  made  the  action  of  the 
human  body  in  motion  his  chief  study,  and  thus  worked  out  the 
Doric  direction  which  Athenian  art  had  taken  during  the  first 
half  of  the  fifth  century. 

THE  PARTHENON 

The  Parthenon,  or  temple  of  the  goddess  Athena,  on  the  Akropolis 
of  Athens,  was  probably  begun  about  447  B.  C.,  and  finished  soon 
after  438  B.  C.  The  architects  were  Iktinos  and  Kallikrates;  the 
sculptural  decorations  were  planned  and  executed  under  the  sup- 
erintendence of  Pheidias.  In  the  fifth  or  sixth  century  A.  D., 
the  building  was  converted  into  a Christian  church,  and  later 
into  a mosque.  In  spite  of  these  changes,  it  remained  in  good 
preservation  down  to  the  seventeenth  century,  except  that  the 
centre  of  the  eastern  pediment  was  lost.  This  we  know  from  the 
account  of  travellers,  Spon  and  Wheler,  who  visited  Athens  in 
1676,  and  from  the  drawings  generally  said  to  be  by  Jacques 
Carrey,  though  their  attribution  to  this  artist  is  by  no  means  cer- 
tain {cf.  H.  Omont,  Athenes  au  XV lie  Siecle,  p.  4).  The  real 


62  GREEK  AND  ROMAN  SCULPTURE 

work  of  destruction  was  done  during  a siege  of  the  Akropolis 
by  the  Venetians  in  1687,  when  a bomb  fell  into  the  Parthenon 
and  burst  it  asunder.  In  1802  Lord  Elgin  removed  a large 
part  of  the  surviving  sculptures  to  England,  where  they  were  soon 
afterwards  bought  by  the  British  government,  and  set  up  in  the 
British  Museum. 

Michaelis,  Der  Parthenon. 

Frazer’s  Pausanias,  II,  pp.  30417. 

Penrose,  Principles  of  Athenian  Architecture,  2nd  edition. 

475  MODEL  OF  THE  AKROPOLIS  of  Athens  in  its  present 
condition  (In  Hall  38).  This  model  was  made  expressly  for 
the  Metropolitan  Museum,  by  Heinrich  Walger,  of  Berlin, 
under  the  direction  of  Professors  Curtius,  Kaupert,  Dorpfeld, 
and  Kawerau.  It  was  completed  in  1895,  and  represents  as 
accurately  as  possible  the  details  of  all  the  various  terraces 
and  buildings  on  and  around  the  Akropolis,  as  they  appeared 
in  that  year.  All  the  important  monuments  have  their 
names  inscribed.  The  scale  is  1:425. 

476  MODEL  OF  THE  PARTHENON,  restored.  (In  Hall  38, 
see  Frontispiece.)  This  model,  which  is  one  twentieth 
the  full  size,  was  made  for  the  Willard  Collection,  by 
A.  Jolly,  of  Paris,  under  the  direction  of  Charles 
Chipiez,  whose  theory  regarding  the  lighting  of  the 
interior  it  follows.  This  theory  has  not  been  generally 
accepted,  because  there  is  no  evidence  among  existing 
monuments  of  an  opening  in  the  roof  of  the  kind  here  illus- 
trated. The  system  of  coloring  which  has  been  adopted  is 
almost  wholly  conjectural  so  far  as  the  Parthenon  itself  is 
concerned,  for  while  there  are  places  in  which  the  weather- 
ing of  the  marble  shows  that  patterns  were  applied  in  colors 
or  gilding,  there  are  practically  no  remains  of  color  on  the 
building.  Something,  however,  may  be  deduced  from  a 
comparison  of  the  traces  of  color  surviving  on  other  Doric 
temples  of  about  the  same  period,  from  which  it  would 
appear  that  in  the  color-scheme  of  their  buildings  the  archi- 
tects of  the  Doric  style  followed  certain  general  principles 
with  as  much  regularity  as  they  did  the  characteristics 
of  the  architecture  itself.  These  traces  are  at  best  but 
scanty,  and  all  that  has  yet  been  definitely  determined  from 
observation  is  the  following: 

The  use  of  color  in  the  decoration  seems  to  have  been  con- 
fined to  the  upper  parts  of  the  structure,  the  plane  sur- 


A CORNER  OF  THE  PARTHENON,  RESTORED 
FROM  FENCER,  Dorische  Polychromie 


r « 

k 

. » 

« ' 


s 


s 


; 


THE  GREAT  PERIOD 


63 

faces  of  the  walls  and  the  shafts  of  the  columns  having 
been  left  white, — the  natural  color  of  the  marble  in  the 
Parthenon  and  other  buildings  of  that  material,  and  of 
the  stucco  with  which  those  of  a coarser  stone  were  coated. 
For  the  upper  members,  red  and  blue  were  the  principal 
colors  employed,  though  patterns  were  picked  out  with 
other  colors,  and  with  gilding.  The  only  part  of  the  Doric 
capital  which  is  known  positively  to  have  been  painted  is 
the  channels  between  the  rings  encircling  the  base  of  the 
echinus.  These,  at  least  at  Olympia,  were  red.  Of  the  same 
color  were  the  string-course  above  the  architrave,  the  band 
above  the  triglyphs,  and  the  lower  member  of  the  corona, 
including  the  spaces  between  the  mutules.  The  triglyphs,  the 
regulae,  and  the  blocks  of  the  mutules  were  painted  either 
blue  or  bluish  black;  the  guttae  were  usually  red,  but  some- 
times white,  and  occasionally  even  yellow  or  gilt.  The 
metopes  appear  to  have  been  colored  only  when  they  served 
as  the  background  for  reliefs,  when  they  were  painted  either 
red  or  blue,  otherwise  they  remained  white.  The  background 
of  sculptured  friezes  was  always  colored,  either  red  or  light 
blue,  as  was  also  the  tympanum  or  background  of  the  pedi- 
ments. Cymas,  wherever  applied,  were  usually  if  not  always 
decorated  with  a leaf-pattern  in  colors. 

On  the  facts  noted  above  see  especially  R.  Borrmann  in  the 
Berliner  Philologische  IVochenschrijt,  1895,  pp.  49,  50,  quoted 
also  by  Perrot  et  Chipiez,  hiisioire  de  V Art,  VII,  p.  580. 
The  best  illustration  of  this  scheme  of  color  is  given  in  the 
work  on  the  results  of  the  excavations  at  Olympia — Olympia, 
Atlas,  II,  pi.  CXI  I.  See  also  the  atlas  to  L.  Fenger’s 
Dorische  Polychromie.  (E.  R.) 

As  regards  the  Sculptures  of  the  temple,  it  is  certain  that 
colors  were  applied,  but  no  traces  of  the  actual  colors  used 
were  found,  and  therefore  the  scheme  of  coloring  adopted  on 
the  model  is  entirely  conjectural.  Of  the  eastern  pediment, 
only  the  five  figures  at  the  left  end  and  the  four  at  the  right 
end  are  actually  preserved;  all  the  others  have  entirely  dis- 
appeared, and  there  is  no  evidence  for  the  restoration  here 
adopted.  Although  but  few  of  the  figures  of  the  western 
pediment  survive,  and  these  in  a very  much  mutilated  con- 
dition, the  general  character  of  the  composition  is  well 
known  through  drawings  made  in  the  seventeenth  century, 
when  the  sculptures  were  still  in  position  (see  above,  the 
history  of  the  Parthenon).  It  is  upon  these  drawings  that 
the  restoration  of  this  pediment  is  based. 

The  photographs  on  the  pedestal  of  the  model  show  the 


64  GREEK  AND  ROMAN  SCULPTURE 

extremely  mutilated  condition  of  such  of  the  metopes  as 
survive  at  the  present  time,  and  these  offer  all  the  data  we 
have  with  regard  to  them.  Many  of  those  on  the  north  and 
south  sides  have  been  lost.  Conjecture  has  necessarily  en- 
tered into  the  treatment  of  the  restoration  here.  The  same 
is  true,  though  to  a much  smaller  extent,  of  the  frieze. 

It  should  be  noted  that  the  shields  on  the  architrave  were 
dedicated  in  Roman  times  during  a visit  of  Nero  to  Athens. 
On  the  Parthenon  itself  only  the  traces  of  these  now  remain. 

The  sculptures  of  the  Parthenon  consisted  of; 

Two  Pedimental  Groups. 

Metopes  on  the  four  sides  of  the  exterior  of  the  temple. 

A Continuous  Frieze,  running  round  the  upper  part  of 
the  cella,  inside  the  colonnade. 

The  casts  of  these  are  in  Gallery  24. 

THE  EASTERN  PEDIMENT.  Though  the  central  group  of 
this  composition  is  lost,  we  know  from  a brief  record  made  by 
Pausanias  that  the  subject  represented  was  the  Birth  of  Athena. 
The  reconstruction  of  the  missing  figures  is  a matter  of  some 
difficulty.  It  is  not  likely  that  the  subject  was  treated  as  it  is 
on  vase  paintings,  where  Athena  is  represented  as  a diminutive 
figure  emerging  from  the  head  of  Zeus.  It  is  more  probable  that 
she  stood  full-grown  before  Zeus.  A puteal  in  Madrid  (No.  508) 
has  been  supposed,  with  good  reason,  to  reproduce  the  scene  some- 
what as  it  was  treated  on  the  Parthenon.  All  the  surviving  fig- 
ures of  this  pediment  are  included  in  the  following  casts.  Begin- 
ning at  the  left  they  are: 

477  HELIOS  (THE  SUN)  in  his  chariot  rising  from  the  sea. 
There  were  originally  four  horses’  heads;  of  these  two  still 
remain  in  position  on  the  temple,  at  the  back  of  the  pediment. 

478  MALE  FIGURE,  variously  interpreted  as  Theseus,  Dion- 
ysos, Mt.  Olympos,  etc. 

479  DEMETER  AND  PERSEPHONE.  Two  female  figures 
seated  on  square  seats. 

480  IRIS? 

481,482  THREE  FEMALE  FIGURES,  variously  interpreted 
as  the  Three  Fates;  the  Clouds;  Hestia,  Gaia,  and  Thalassa; 
Hestia,  Peitho  and  Aphrodite;  etc. 


THE  GREAT  PERIOD 


65 

483  SELENE  (THE  MOON)  in  her  chariot,  sinking  into  the 
sea.  Only  the  torso  of  Selene  and  the  head  of  one  horse 
have  survived. 

Nos.  477-482  are  in  the  British  Museum.  Of  No.  483,  the 
torso  of  Selene  is  in  the  Akropolis  Museum,  Athens,  the 
head  of  the  horse  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  303. 

THE  WESTERN  PEDIMENT.  The  subject  was  the  contest  of 
Athena  and  Poseidon  for  the  dominion  of  Attica.  The  interpre- 
tation of  some  of  the  individual  figures  is  not  certain.  From  left 
to  right: 

484  KEPHISSOS  OR  ILISSOS,  a river-god.  From  the  angle 
of  the  pediment. 

485  TORSO  OF  HERMES. 

486  UPPER  PART  OF  THE  BODY  OF  ATHENA.  Part  of 
the  central  group. 

487  TORSO  OF  POSEIDON.  Part  of  the  central  group. 

488  TORSO  OF  A WINGED  DIVINITY.  Unidentified  (not 
Nike). 

489  TORSO  OF  AMPHITRITE. 

490  FRAGMENT  OF  A MARINE  GODDESS,  seated.  (Leu- 
kothea?)  Only  the  lower  limbs  are  preserved. 

491  THALASSA.  Fragment  representing  the  right  thigh  of  a 
draped  female  figure,  seated  on  a rock. 

492  ILISSOS  OR  KEPHISSOS  (?).  Torso  of  a male  figure. 
Nos.  484-491  are  in  the  British  Museum,  except  a piece  of 
No.  487,  which  is  in  the  Akropolis  Museum,  Athens,  where 
is  also  No.  492. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  304. 

Besides  these  figures  the  following  fragments  have  been  identified 
as  probably  belonging  to  the  pedimental  sculptures: 

493  THE  “ LABORDE”  HEAD,  a colossal  female  head,  thought 


66  GREEK  AND  ROMAN  SCULPTURE 


to  belong  to  the  Victory  driving  the  chariot  of  Athena  in 
the  western  pediment.  It  was  found  built  into  a wall  of  the 
house  of  the  San  Gallo  family,  in  Venice,  and  is  now  in  the 
possession  of  the  Laborde  family,  in  Paris. 

Restorations:  The  nose,  a small  piece  in  the  upper  lip,  the 
middle  of  the  lower  lip,  the  chin,  and  a part  of  the  back  of 
the  head. 

Michaelis,  Der  Parthenon,  pi.  VIII,  fig.  6,  p.  195. 

494  Fragment  of  a Colossal  Female  Head,  which  used  to 
be  associated  with  the  Athena  of  the  western  pediment. 
It  is  said  to  have  been  found  built  into  a Turkish  house 
at  the  west  front  of  the  Parthenon,  but  there  is  no  other 
ground  for  the  attribution,  and  the  conventional  style 
is  very  unlike  the  pediment  figures. 

Michaelis,  Der  Parthenon,  pi.  VIII,  14. 

495  Two  Feet  Attached  to  a Plinth. 

Michaelis,  Der  Parthenon,  pi.  VIII,  4. 

496  Fragment  of  Drapery. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British  Mu- 
seum, I,  No.  337. 

497  Part  of  a Serpent. 

Michaelis,  Der  Parthenon,  text  p.  194. 

498  Forearm. 

Michaelis,  Der  Parthenon,  pi.  VIII,  29. 

499  Fragment  of  a Left  Arm  with  drapery. 

Michaelis,  Der  Parthenon,  pi.  VIII,  26. 

500  Fragment  of  a Right  Arm. 

Michaelis,  Der  Parthenon,  pi.  VIII,  30. 

501  Fragment  of  Drapery. 

Michaelis,  Der  Parthenon,  VIII,  25. 

502  Part  of  a Right  Foot. 

Michaelis,  Der  Parthenon,  pi.  VIII,  32. 

303  Fragment  of  a Right  Arm. 

Michaelis,  Der  Parthenon,  pi.  VIII,  40. 


THE  GREAT  PERIOD 


67 


504  Left  Forearm. 

Michaelis,  Der  Parthenon,  pi.  VIII,  28. 

505  Fragment  of  an  Arm. 

Michaelis,  Der  Parthenon,  pi.  VIII,  27. 

506  Fragment  of  a Left  Thigh. 

Michaelis,  Der  Parthenon,  pi.  VIII,  39. 

507  Fragment  of  an  Arm. 

Michaelis,  Der  Parthenon,  pi.  VIII,  35. 

Nos.  494-507  are  in  the  British  Museum,  except  No.  501 
which  is  in  the  Akropolis  Museum,  Athens. 

508  PUTEAL,  or  well-curb,  with  reliefs  representing  the  birth 
of  Athena  in  the  presence  of  the  Three  Fates.  The  group 
with  Athena  may  be  an  adaptation  from  the  central  group 
of  the  eastern  pediment  of  the  Parthenon.  In  the  Mu- 
seum of  Madrid. 

Friederichs-Wolters,  No.  1862. 

509-51  I COPIES  OF  STATUES  ON  THE  WESTERN  PED- 
IMENT OE  THE  PARTHENON.  They  probably  formed 
part  of  a group  which  reproduced  the  entire  composition  on 
a small  scale,  perhaps  for  a shrine  or  votive  monument. 
The  original  of  No.  509  is  still  extant,  in  its  original  po- 
sition on  the  Parthenon,  and  has  been  identified  with 
some  probability  as  Kekrops  and  one  of  his  daughters.  The 
originals  of  Nos.  510,  51 1 are  lost.  In  the  drawings 
made  in  the  seventeenth  century  the  group  No.  509 
corresponds  to  the  second  and  third  figures  on  the  left; 
No.  510  is  the  fourth  figure  on  the  same  side,  and  perhaps 
represents  another  daughter  of  Kekrops;  No.  51 1 is  prob- 
ably the  third  figure  beyond  the  break  on  the  right.  These 
figures  were  found  at  Eleusis,  and  are  now  in  the  National 
Museum,  Athens. 

Kavvadias,  Catalogue,  Nos.  200-202. 

512-529  METOPES. 

{a)  Erom  the  south  side  (Nos.  512-528):  They  represent 
scenes  from  the  ibattle  between  the  Centaurs  and  Lapiths 
at  the  marriage-feast  of  Peirithoos  and  Deidameia. 
Michaelis,  Der  Parthenon,  pi.  3,  I-X,  and  XXVI-XXVIII; 
pi.  4,  XXIX-XXXII. 


68  GREEK  AND  ROMAN  SCULPTURE 

No.  512  is  still  in  its  original  position  on  the  Parthenon, 
No.  521  is  in  the  Museum  of  the  Louvre,  and  the  others  are 
in  the  British  Museum. 

(h)  From  the  North  Side  (No.  529):  Part  of  a metope 
representing  a draped  woman  seated  on  a rock.  This  is 
the  best  preserved  metope  from  the  north  side;  the  rest 
are  so  fragmentary  that  the  subject  represented  is  doubt- 
ful. This  one  is  still  in  position  on  the  Parthenon. 

Michaelis,  Der  Parthenon,  pi.  4,  XXXII. 

530  THE  FRIEZE.  The  subject  of  the  frieze  is  the  Panathenaic 
procession,  which  was  one  of  the  chief  features  of  the  games 
held  every  fourth  year  in  honor  of  Athena.  On  this  occa- 
sion the  peplos  or  sacred  robe  of  the  goddess  was  brought  to 
adorn  her  ancient  image  on  the  Akropolis,  and  was  accom- 
panied by  offerings  and  victims  for  sacrifice.  The  chief 
magistrates  of  the  city  and  a select  company  of  young  men 
and  maidens  took  part  in  the  procession.  In  the  frieze  the 
procession  is  conceived  as  starting  from  the  western  end, 
and  advancing  along  the  north  and  south  sides,  until  the 
two  lines  converge  upon  the  east. 

In  the  casts  here  exhibited  (Gallery  24)  only  a selection  of 
slabs  from  each  of  the  four  sides  is  included,  and  they  there- 
fore do  not  give  a complete  idea  of  the  composition.  For 
this  the  student  is  referred  to  the  atlas  of  Michaelis’s  Der 
Parthenon. 

West  Side.  On  this  were  represented  the  preparations  for 
the  procession.  Our  casts  include  the  following  slabs: 
Michaelis,  pi.  9,  Nos.  I-IV,  VI,  VIII-X,  XII. 

On  the  North  Side  was  represented  a part  of  the  process- 
ion itself,  including  horsemen,  chariots,  the  elders  of  the 
city,  musicians,  youths  carrying  jars  (sphondophoroi), 
others  carrying  trays  (skadephoroi),  and  cows  and  sheep 
being  led  to  sacrifice.  Our  casts  include  Michaelis,  pis.  12 
and  13,  Nos.  II,  IV-VI,XIV,  XVII,  XVIII,  XXVI,  XXVIII 
XXIX,  XXXI,  XXXII,  XXXIV-XLI. 

The  South  Side  also  contained  a portion  of  the  procession, 
consisting  of  practically  the  same  elements  as  that  on  the 
north,  except  that  the  musicians  and  the  sheep  led  to  sacri- 
fice were  not  included  here.  Our  casts  include  Michaelis, 
pis.  10  and  II,  III,  V,  VI,  IX-XIII,  XV-XVII,  XXII, 
XXV,  XXIX,  XXX,  XXXVIII-XLIV. 

On  the  East  Side  the  two  parts  of  the  procession  which 
extended  along  the  north  and  south  walls  came  together, 


THEGREATPERIOD  69 

the  climax  of  the  composition  being  the  central  group,  di- 
rectly over  the  main  door  of  the  temple.  This  group  prob- 
ably represents  the  delivery  of  the  new  peplos  to  the  priest 
of  Athena.  On  each  side  of  it  is  a group  of  seated  divinities, 
supposed  to  be  present  on  the  occasion;  those  on  the  left, 
beginning  at  the  centre,  are  Zeus,  Hera,  Iris  or  Nike,  Ares 
or  Triptolemos  (?),  Artemis  or  Demeter  (?),  Apollo  (?),  and 
Hermes.  Those  on  the  right  are  Athena,  Hephaistos,  Po- 
seidon, Dionysos  (?),  Demeter  or  Peitho(?),  Aphrodite  and 
Eros.  Beyond  these  divinities,  on  either  side,  are  five 
men  standing  and  conversing.  These  have  usually  been 
explained  as  the  archons  of  the  city,  waiting  for  the  arrival 
of  the  procession  at  the  Akropolis,  but  recently  it  has  been 
suggested  that  they  are  personifications  of  the  ten  tribes  of 
Attica.  Then  follow  priests  or  other  officials,  and  maidens 
bringing  the  sacrificial  vessels,  the  latter  forming  the  head  of 
the  procession  itself. 

Of  this  portion  of  the  frieze  our  selection  includes  Michaelis, 
pi.  14,  IV,  parts  of  V and  VI,  VI  I,  and  part  of  VII  I. 

The  West  Frieze  is  still  in  its  original  position  on  the  Par- 
thenon, with  the  exception  of  the  two  slabs  at  the  left  end, 
which  are  in  the  British  Museum.  The  rest  of  the  frieze, 
from  the  north,  south,  and  east  sides,  is  for  the  most  part 
in  the  British  Museum,  but  there  are  a number  of  slabs  in  the 
Akropolis  Museum,  at  Athens,  and  one  in  the  Museum  of 
the  Louvre. 


531-540 

SCULPTURES  ILLUSTRATING  THE  STATUE  OF  ATHENA 
PARTHENOS.  The  colossal  statue  of  Athena,  of  ivory  and  gold, 
which  Pheidias  made  for  the  interior  of  the  Parthenon,  and  which 
was  dedicated  in  the  year  438  B.  C.,  disappeared  during  the  dark 
ages.  For  our  knowledge  of  it  we  are  dependent  upon  the  de- 
scriptions of  ancient  writers,  and  upon  copies  of  it,  mostly  upon  a 
very  small  scale,  which  are  scattered  through  the  museums  of 
Europe.  The  information  to  be  gathered  from  both  these  sources  is 
summarized  by  Frazer,  in  his  Pausanias,  Vol.  II,  pp.  3i2ff.  The 
casts  in  this  collection  illustrating  the  statue  may  be  divided  into 
two  classes, — figures  in  the  round,  all  of  which  are  of  late  date,  and 
by  inferior  sculptors;  and  representations  of  the  goddess  on  re- 
liefs of  various  periods.  These  illustrations  show  considerable 
variations;  moreover,  there  are  discrepancies  between  all  of  them 
and  the  descriptions,  in  one  or  more  details.  This  shows  that 
none  of  them  is  to  be  relied  on  for  more  than  a general  suggestion  of 
the  original. 


70  GREEK  AND  ROMAN  SCULPTURE 

531'  THE  “VARVAKEION”  ATHENA.  Found  near  the 
Varvakeion  in  Athens,  and  now  in  the  National  Museum 
there. 

Lange,  Athenische  M itteilungen,  V,  1880,  p.  370,  and  VI, 
1881,  p.  56,  pis.  I and  II. 

532  THE  “LENORMANT”  ATHENA.  Found  near  the  Pnyx 
in  Athens,  and  now  in  the  National  Museum  there. 

Fr.  Lenormant,  Gazette  des  Beaux- Arts,  i860,  pp.  129,  203, 
and  278. 

533  BRONZE  STATUETTE.  Found  near  Stradella,  and  now 
in  the  Museo  di  Antichita,  Turin. 

Dutschke,  Antihe  Bildwerke  in  Oheritalien,  IV,  No.  296. 

534  MINERVE  AU  COLLIER,  so  called.  Formerly  in  the 
Villa  Borghese,  and  now  in  the  Museum  of  the  Louvre,  No. 

91. 

Restorations:  The  nose,  the  mouth,  the  heads  of  the 
sphinx  and  the  griffins,  some  pieces  of  the  hair  and  the  aegis, 
both  arms,  the  lance,  and  the  shield. 

Th.  Schreiber,  Die  Athena  Parthenos  des  Phidias,  p.  567. 

535  RELIEF  HEADING  A DECREE.  It  represents  Athena 
with  a male  divinity,  probably  the  patron  god  to  whom  the 
inscription  had  reference.  The  figure  of  Athena  is  copied 
from  the  statue  of  Athena  Parthenos.  Second  half  of  the 
fifth  century  B.  C.  Found  near  the  Propylaia,  Athens,  and 
now  in  the  Akropolis  Museum. 

Schone,  Griechische  Reliefs,  pl.  XII,  No.  62. 

536  RELIEF,  PROBABLY  THE  HEADING  OF  A DECREE, 
representing  Athena,  a worshipper,  and  a shield-bearer. 
The  figure  of  Athena  is  copied  from  the  statue  of  Athena 
Parthenos.  Second  half  of  the  fifth  century  B.  C.  Found 
on  the  Akropolis,  Athens,  and  now  in  the  Akropolis  Museum. 
Schone,  Griechische  Reliefs,  pl.  XIX,  No.  85. 

537  VOTIVE  RELIEF  TO  ATHENA.  Fragmentary  relief 
representing  worshippers  about  to  sacrifice  a pig  to  Athena. 
The  figure  of  the  goddess  resembles  the  statue  of  Athena 
Parthenos.  In  the  Akropolis  Museum,  Athens. 

Michaelis,  Der  Parthenon,  pl.  XV,  17. 


THE  GREAT  PERIOD 


7* 

538  FRAGMENTARY  RELIEF,  PROBABLY  THE  HEAD- 
ING OF  A DECREE,  representing  Athena  crowning  a 
mortal,  perhaps  a Colophonian.  The  part  of  the  inscrip- 
tion which  is  preserved  contains  the  name  KoXo4*0)v(fou). 
The  figure  of  Athena  is  copied  from  the  statue  of  Athena 
Parthenos.  Latter  part  of  the  fifth  century  B.  C.  Found 
on  the  Akropolis,  Athens,  and  now  in  the  Akropolis  Mu- 
seum. 

Schdne,  Griechische  Reliejs,  pi.  XXII,  No.  96, 

539  RELIEF,  PROBABLY  THE  HEADING  OF  A DECREE, 
representing  Athena  carrying  a small  Nike  (Victory)  who  is 
in  the  act  of  crowning  a priestess.  The  figure  of  Athena  is 
a free  copy  of  the  statue  of  Athena  Parthenos.  Fourth 
century  B.  C.  From  Athens.  In  the  Berlin  Museum. 
Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No. 
881. 

540  FRAGMENT  OF  A COPY  OF  THE  SHIELD  OF  THE 
ATHENA  PARTHENOS.  The  reliefs  represent  the  battle 
of  Greeks  and  Amazons.  The  great  interest  of  this  scene 
lies  in  the  fact  that  both  Perikles  and  Pheidias  are  introduced 
among  the  combatants,  the  former  brandishing  a spear  in 
front  of  his  face,  and  the  latter  as  a bald  old  man  grasping 
an  axe  with  both  hands.  We  know  their  identity  from  a 
description  of  the  shield  by  Plutarch,  in  his  life  of  Perikles 
(XXXI,  25,  26).  The  fragment  was  found  in  Athens,  and 
is  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British  Mu- 
seum, I,  No.  302. 

For  architectural  details  from  the  Parthenon,  see  Nos.  1196- 
1202. 

SCULPTURES  FROM  OTHER  TEMPLES  IN  ATTICA 
AND  ELSEWHERE 

541,  542  METOPES  OF  THE  SO-CALLED  THESEION  (Tem- 
ple of  Hephaistos?),  Athens.  Middle  of  the  fifth  century 

B.  C.  They  represent  : 

541  Contest  of  Theseus  and  Kerkyon. 

542  Contest  of  Theseus  and  Skeiron. 

Both  are  still  in  their  original  position. 

Baumeister,  Denkmdler,  HI,  figs.  1864  and  1865. 


72  GREEK  AND  ROMAN  SCULPTURE 

543-552 

RELIEFS  FROM  THE  TEMPLE  OF  NIKE  APTEROS  on  the 
Akropolis,  Athens.  Latter  part  of  the  fifth  century  B.  C. 

543,  544  TWO  SLABS  FROM  THE  NORTH  AND  SOUTH 
FRIEZES,  representing  a battle  between  Greeks  and  Per- 
sians. In  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  Nos.  423-425. 

545  TWO  WINGED  VICTORIES  ABOUT  TO  SACRIFICE  A 
COW.  From  the  Balustrade  of  the  Temple. 

Kekule,  Die  Reliefs  an  der  Balustrade  der  Athena  Nike,  pi. 
I,  A. 

546  A VICTORY  BINDING  HER  SANDAL.  From  the  same. 
KekuleC  pi.  IV,  O. 

547  A VICTORY  CROWNING  A TROPHY.  From  the  same. 
Kekule,  pi.  IV,  M. 

548  A VICTORY  HOLDING  A GREAVE.  From  the  same 
KekuieC  pi.  V,  R. 

549  ATHENA  SEATED  ON  A ROCK.  From  the  same. 
Kekule,  pi.  II,  E. 

550-551  TWO  FRAGMENTS  OF  VICTORIES.  From  the  same. 
Kekule,  pi.  HI,  J,  and  IV,  N. 

Nos.  545-551  are  in  the  Akropolis  Museum,  Athens. 

552  DECORATION  OF  A HERMA.  Roman  relief,  with  fig- 
ures copied  from  those  on  the  Nike  Balustrade.  Said  to 
have  been  found  near  Naples.  Now  in  the  Glyptothek, 
Munich. 

Principal  Restorations:  Of  the  woman  on  the  left,  the 
face,  the  right  arm,  and  fingers  of  the  left  hand;  of  the  one 
on  the  right,  the  nose,  ear,  and  part  of  the  hair  above  the 
forehead.  Also  the  face  and  other  parts  of  the  herma. 
Furtwangler,  Beschreihung  der  Glyptothek,  No.  264. 

For  the  Maidens  from  the  Porch  of  the  Erechtheion,  see 
the  casts  from  the  Erechtheion  in  the  architectural  sec- 
tion, Nos.  1203-1225. 


THE  GREAT  PERIOD 


73 

553  THE  FRIEZE  OF  THE  TEMPLE  OF  APOLLO  EPI- 
KOURIOSAT  PHIGALEIA,in  Arkadia.  (In  Hall 38, under 
the  pediments  of  the  Temple  of  Zeus  at  Olympia.)  The  date 
of  the  construction  of  the  temple  is  not  known.  It  was  built 
in  recognition  of  the  deliverance  from  a plague,  which  may 
have  been  that  which  visited  Athens  soon  after  the  out- 
break of  the  Peloponnesian  War  (431  B.  C.).  The  architect 
was  Iktinos,  the  same  who  built  the  Parthenon  (completed 
438  B.  C.).  The  frieze,  which  originally  encircled  the  four 
walls  of  the  cella,  on  the  inside,  was  discovered  among  the 
ruins  of  the  temple  in  1811,  1812,  by  Cockerell,  Haller, 
Lynckh,  Stackelberg,  etc.,  and  soon  afterwards  acquired  by 
the  British  Museum.  It  consists  in  all  of  twenty-three 
slabs;  of  these  nine  on  the  west  side  and  two  on  the  north 
side  represent  the  battle  of  Lapiths  and  Centaurs;  one  on 
the  north  side,  eight  on  the  east  side,  and  three  on  the  south 
side  represent  the  battle  of  Greeks  and  Amazons.  The  order 
of  the  slabs  is  not  certain.  The  one  here  followed  is  that 
adopted  in  the  British  Museum.  Besides  individual  con- 
tests of  Centaurs  and  Lapiths,  and  Greeks  and  Amazons, 
there  are  represented  Apollo  and  Artemis  coming  to  the  aid 
of  the  Lapiths;  two  Lapith  women  taking  refuge  at  the  statue 
of  a goddess,  probably  Artemis;  two  Centaurs  lifting  a rock 
to  crush  the  invulnerable  Kaineus;  Herakles  and  an  Amazon 
in  single  combat. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  pp.  277-287. 


554-559 

SCULPTURES  FROM  THE  ^'NEREID  MONUMENT,’’  at 
Xanthos  in  Lycia.  Discovered  by  Sir  Charles  Fellows,  and  now 
in  the  British  Museum.  End  of  the  fifth  or  beginning  of  the 
fourth  century  B.  C.  In  Gallery  25. 

554-557  FOUR  FIGURES  OF  NEREIDS  which  occupied  the 
intercolumniations  of  the  structure. 

Michaelis,  Monumenti  delV  Instituto,  X,  pi.  XI,  Nos.  I,  II, 
IV,  V. 

558  A-D  FOUR  SLABS  FROM  THE  FIRST  FRIEZE,  which 
probably  surrounded  the  lower  part  of  the  base  The  sub- 
ject is  a contest  of  Greeks  and  barbarians. 

Monumenti,  X,  pi.  XIII,  A,  pi.  XIV,  L,  N,  Q. 


74  GREEK  AND  ROMAN  SCULPTURE 

559  A-D  FOUR  SLABS  FROM  THE  SECOND  FRIEZE,  which 
probably  surrounded  the  upper  part  of  the  base.  They  re- 
present battle-scenes  round  a walled  city. 

A.  Marching  Hoplites.  {Monumenii,  X,  pi.  XV,  G.) 

B.  Assault  on  a Gate  of  the  City.  {Monumenii,  X,  pi. 
XV,  H and  I.) 

C.  Sortie  from  the  City.  {Monumenii,  X,  pi.  XV,  P.) 

D.  Surrender  of  the  Garrison  to  the  victorious  gen- 
eral. {Monumenii,  X,  pi.  XV,  V.) 

A.  H.  Smith,  Caialogue  of  Greek  Sculpiure  in  ihe  Briiish 
Museum,  II,  pp.  iff. 

SCULPTURES  ILLUSTRATING  THE 
STYLE  OF  MYRON 

560  DISKOBOLOS  (Disk-thrower).  Roman  copy  of  a statue 
by  Myron.  About  450  B.  C.  The  head,  which  is  restored,  is 
wrongly  attached;  in  the  original  it  was  turned  toward  the 
hand  which  holds  the  disk  {cj.  No.  561).  Found  in  Had- 
rian’s Villa  at  Tivoli,  and  now  in  the  British  Museum. 
Restorations:  The  head,  both  hands,  a piece  under  the 
right  arm,  the  right  knee,  a small  piece  in  the  right  leg, 
parts  of  the  toes,  part  of  the  disk. 

A.  H.  Smith,  Caialogue  of  Greek  Sculpiure  in  ihe  Briiish  Mu- 
seum, I,  No.  250. 

561  DISKOBOLOS.  Conjectural  restoration  of  the  statue 
by  Myron.  About  450  B.  C.  This  is  a composite  cast, 
made  under  the  direction  of  Professor  Furtwangler.  The 
body  is  reproduced  from  the  statue  in  the  Vatican,  and  the 
head  from  that  in  the  Lancellotti  Palace,  Rome. 

Helbig,  Guide,  I,  No.  333,  and  Collignon,  Hisioire,  I,  pi.  XL 

562  MARSYAS.  Roman  copy  of  a statue  by  Myron.  About 
450  B.  C.  The  original  formed  part  of  a group  representing 
Athena  throwing  away  the  flutes  before  Marsyas.  Found  on 
the  Esquiline,  and  now  in  the  Lateran  Museum,  Rome. 
Restorations:  Both  ears,  both  arms  from  the  shoulders, 
the  left  leg  from  knee  to  ankle,  the  front  half  of  the  right  foot, 
the  plinth,  excepting  the  part  which  belongs  to  the  left  foot. 
Helbig,  Guide,  I,  No.  661. 


THE  NEREID  MONUMENT,  AS  RESTORED  BY  SIR  C.  FELLOWS 
FROM  THE  BRITISH  MUSEUM  CATALOGUE,  VOL.  II. 


J*' 


THEGREATPERIOD  75 

563  ATHLETE  POURING  OIL  INTO  HIS  HAND.  Roman 
copy  of  a statue  of  the  school  of  Myron.  The  head,  however, 
is  treated  in  the  style  of  Praxiteles  (first  half  of  the  fourth 
century  B.  C.).  Place  of  discovery  unknown.  In  the 
Glyptothek,  Munich. 

Restorations:  The  right  arm  with  the  shoulder,  the  left 
forearm  with  the  hand,  parts  of  both  knees,  the  left  shoulder- 
blade,  the  greater  part  of  the  right  half  of  the  back. 
Furtwangler,  Beschreibung  der  Glyptothek,  No.  302. 

564  ATHLETE  POURING  OIL  INTO  HIS  HAND.  Roman 
copy  of  a statue  of  the  same  type  as  No.  563.  Here  the 
body  is  treated  in  the  style  of  the  fourth  century  B.  C. 
Formerly  in  the  Chigi  Collection,  and  now  in  the  Albertinum, 
Dresden. 

Friederichs-Wolters,  No.  463. 

SCULPTURES  SHOWING  THE  CHARACTERISTICS 
OF  THE  ATTIC  SCHOOL  OF  THE  PERIOD 

(At  the  beginning  are  placed  those  that  belong  to  the 
circle  of  Pheidias.) 

565  THE  ^‘LEMNIAN”  ATHENA  OF  PHEIDIAS?  Com- 
posite cast,  made  up  from  a head  in  the  Museo  Civico  of 
Bologna,  and  parts  of  two  statues  in  the  Albertinum,  Dres- 
den, under  the  direction  of  Professor  Furtwangler. 
Furtwangler,  Masterpieces,  pis.  I-HI,  and  pp.  3ff. 

566  COLOSSAL  STATUE  OF  DEMETER  OR  HERA.  Roman 
copy  of  a statue  of  the  second  half  of  the  fifth  century  B.  C. 
Formerly  in  the  court  of  the  Cancelleria,  Rome,  and  now 
in  the  Vatican. 

Restorations:  The  end  of  the  nose  and  the  adjoining  part 
of  the  upper  lip,  the  lower  lip,  part  of  the  chin,  the  edges 
of  the  ears,  both  arms,  the  right  foot,  with  the  end  of  the 
chiton,  four  toes  of  the  left  foot,  various  fragments  on  the 
robe,  most  of  the  plinth. 

Helbig,  Guide,  I,  No.  297. 

567  ATHENA,  KNOWN  AS  THE '^MINERVA  MEDICI.” 
Copy  of  a statue  of  the  second  half  of  the  fifth  century  B.  C. 
Place  of  discovery  unknown.  In  the  Ecole  des  Beaux-Arts, 
Paris. 

Furtwangler,  Masterpieces,  fig.  6,  pp.  27!?. 


76  GREEK  AND  ROMAN  SCULPTURE 

568  "'VENUS  GENETRIX.’’  Probably  a replica  of  a statue  by 
Arkesilas  (first  century  B.  C.), which  may  have  been  a copy 
of  the  “Aphrodite  of  the  Gardens,”  by  Alkamenes,  a pupil 
or  younger  contemporary  of  Pheidias  (latter  part  of  the  fifth 
century  B.  C.).  Found  at  Frejus,  France,  and  now  in  the 
Museum  of  the  Louvre. 

Collignon,  Histoire,  11,  p.  118,  fig.  57. 

569  FEMALE  HEAD.  Roman  copy  of  an  Attic  work  of  the 
latter  part  of  the  fifth  century  B.  C.  Same  type  as  No.  568. 
The  place  of  discovery  is  unknown.  In  the  Berlin  Museum. 
Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No. 
608. 

570  HEAD  OFTHE  “BARBERINI  HERA.”  From  a statue 
which  is  a Roman  (?)  copy  of  a work  of  the  second  half  of 
the  fifth  century  B.  C.  Said  to  have  been  found  on  the 
Viminal,  Rome,  and  now  in  the  Vatican. 

Restorations:  The  nose,  the  right  arm,  the  left  forearm, 
various  fragments  in  the  mantle,  and  most  of  the  plinth. 
Helbig,  Guide,  I,  No.  301. 

571  ATHENA,  The  So-called  “Pallas Giustiniani.”  Roman 
copy  of  a statue,  probably  of  the  end  of  the  fifth  or  beginning 
of  the  fourth  century  B.  C.  Found  on  the  site  of  an  an- 
cient temple  of  Minerva,  in  Rome,  of  which  it  was  probably 
the  sacred  image.  In  the  Braccio  Nuovo  of  the  Vatican. 
Restorations:  The  sphinx  on  the  helmet  (except  its  fore 
feet),  the  right  forearm  with  the  hand  holding  the  spear,  the 
greater  part  of  the  spear,  pieces  in  the  fingers  of  the  left  hand, 
the  head  of  the  serpent. 

Helbig,  Guide,  I,  No.  51. 

572  ATHENA  FROM  VELLETRI.  Roman  copy  of  a work 
of  the  latter  part  of  the  fifth  century  B.  C.  This  statue 
has  been  ascribed  by  Furtwangler  to  the  sculptor  Kresilas, 
but  without  sufficient  authority.  Found  at  Velletri,  and 
now  in  the  Museum  of  the  Louvre. 

Restorations:  Both  hands  and  parts  of  both  feet. 
Furtwangler,  Masterpieces,  pp.  I4iff. 

573  BUST  OF  ATHENA.  Roman  copy  of  a work  of  the  second 
half  of  the  fifth  century  B.  C.  For  the  type  cf.  No.  572. 
Found  near  Tusculum,  and  now  in  the  Glyptothek,  Munich. 
Furtwangler,  Beschreibung  der  Glyptothek,  No.  213. 


THEGREATPERIOD  77 

574  BUST  OF  PERIKLES.  Roman  copy  of  a Greek  work, 
possibly  by  Kresilas,  of  the  end  of  the  fifth  century  B.  C. 
Found  at  Tivoli,.  In  the  British  Museum. 

Restorations:  The  nose  and  small  bits  of  the  helmet. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No,  549. 

575  HORSEMAN.  Fragment  of  a relief.  Of  Boeotian  lime- 
stone. Second  half  of  the  fifth  century  B.  C.  Brought  by 
Prince  Giustiniani  from  Greece  to  Italy,  and  now  in  the 
Vatican. 

Restorations:  The  nose  of  the  man,  pieces  in  his  wrist, 
the  tip  of  the  horse’s  ear,  and  the  right  half  of  the  upper  edge. 
Amelung,  Die  Skulpturen  des  vaticanischen  Museums,  I,  No. 
372A. 

576  HEAD  OF  A YOUTH.  Attic.  After  450  B.  C.  Found 
on  the  Akropolis,  Athens,  and  now  in  the  Akropolis  Museum. 
Lechat,  La  sculpture  attique  avant  Phidias,  p.  482,  fig.  44. 

577  THE  “ELEUSINIAN  SLAB.’'  Relief  representing  De- 
meter, Persephone  and  Triptolemos.  Second  half  of  the 
fifth  century  B.  C.  Found  at  Eleusis,  and  now  in  the 
National  Museum,  Athens,  No.  126. 

The  cracks  between  the  fragments  composing  the  slab  have 
been  partially  filled  with  plaster;  otherwise  there  are  no 
restorations. 

Svoronos,  Das  athener  Nationalmuseum,  pis.  XXIV,  XXV. 

578  RELIEF  REPRESENTING  MEDEA  AND  THE  DAUGH- 
TERS OF  PELIAS.  Probably  an  original  work  of  the 
second  half  of  the  fifth  century  B.  C.  Found  on  the  site 
of  the  old  French  Academy  at  Rome,  and  now  in  the 
Lateran  Museum,  Rome. 

Helbig,  Guide,  I,  No.  635. 

579  ORPHEUS,  EURYDIKE  AND  HERMES.  Roman  copy 
of  a relief  of  the  second  half  of  the  fifth  century  B.  C.  In 
the  Villa  Albani,  Rome. 

Restorations:  Both  feet  of  Orpheus,  the  right  foot  of 
Eurydike,  the  right  hand  and  half  the  forearm  of  Hermes. 
Helbig,  Guide,  II,  No.  790. 

580  RELIEF  WITH  A SEATED  FEMALE  FIGURE,  perhaps 
a divinity.  Second  half  of  the  fifth  century  B.  C.  Found 


jS  GREEKANDROMAN  SCULPTURE 

at  Ikaria,  Attica,  and  now  in  the  National  Museum,  Athens. 
C.  D.  Buck,  American  Journal  of  Archaeology,  V,  1889,  p. 
468;  VIII,  1892,  pi.  XIII. 

581  ASKLEPIOS  OR  ZEUS.  Roman  copy  of  a statue  of  the 
second  half  of  the  fifth  century  B.  C.  Found  at  Antium, 
and  now  in  the  Albertinum,  Dresden. 

Restorations:  The  nose,  the  upper  lip,  the  left  arm  (not 
including  the  hand),  the  right  forearm,  both  feet,  the  plinth, 
tree-trunk,  and  sceptre. 

Olympia,  III,  Die  Bildwerke,  Text,  p.  226. 

582  STATUETTE  OF  AN  AMAZON.  About  400  B.  C. 
Found  on  the  island  of  Salamis,  and  now  in  the  Albertinum, 
Dresden. 

Restorations:  The  head,  the  neck,  a small  piece  on  the 
right  breast,  the  left  forearm,  the  right  hand,  with  the  great- 
er part  of  the  axe,  both  legs  from  knees  down,  the  lower  part 
of  the  mantle,  and  the  base. 

Friederichs-Wolters,  No.  518. 

583  BUST  OF  ALKIBIADES  (?).  Roman  copy  of  a work 
of  the  end  of  the  fifth  century  B.  C.  In  the  Vatican. 
Restorations:  The  tip  of  the  nose,  part  of  the  left  ear. 
Helbig,  Guide,  I,  No.  91. 

584  BUST  OF  HEPHAISTOS.  Roman  copy  of  a work  of  the 
second  half  of  the  fifth  century  B.  C.  Found  in  the  Piazza 
di  Spagna,  Rome,  and  now  in  the  Vatican. 

Restorations:  The  front  of  the  nose,  portions  of  the  hair, 
part  of  the  breast. 

Helbig,  Guide,  I,  No.  89. 

SCULPTURES  RELATED  TO  POLYKLEITOS 
AND  HIS  SCHOOL 

585  DORYPHOROS  (Spear-bearer).  Roman  copy  of  a statue 
by  Polykleitos,  of  Argos,  which  was  executed  in  the  second 
half  of  the  fifth  century  B.  C.  Found  at  Pompeii,  and  now 
in  the  Museum  of  Naples. 

The  statue  was  broken  in  several  places,  but  it  is  believed 
that  with  unimportant  exceptions  the  repairs  have  been  made 
with  the  original  pieces,  though  considerably  retouched. 
Collignon,  Hisiotre,  I,  pi.  XII,  pp.  488flF. 


THEGREATPERIOD  79 

586  DIADUMENOS  (Youth  binding  his  head  with  a fillet  as  a 
sign  of  victory  in  the  games).  Roman  copy  of  a statue  by 
Polykleitos.  Found  at  Vaison,  France,  and  now  in  the 
British  Museum. 

Restorations:  The  nose,  the  fingers  of  the  right  hand, 
parts  of  the  left  thigh,  the  left  shin  and  heel;  also  the  upper 
part  of  the  stump. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  500. 

587  DIADUMENOS.  Another  copy  of  the  same  statue,  with 
slight  variations  in  the  head,  etc.  From  the  Farnese  Col- 
lection. In  the  British  Museum. 

Restorations:  The  nose  and  parts  of  the  band. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  501. 

588  HEAD  OF  THE  DIADUMENOS.  From  a Roman  copy 
{cf.  No.  586).  Formerly  in  the  Chigi  Collection,  and  now 
in  the  Albertinum,  Dresden. 

Restorations:  The  nose  and  the  upper  lip. 

Furtwangler,  Masterpieces,  p.  240,  pis.  X and  XI. 

589  WOUNDED  AMAZON.  Roman  copy  of  a statue  (by 
Polykleitos?)  of  the  second  half  of  the  fifth  century  B.  C. 
Found  in  the  Vicolo  di  S.  Nicolo  di  Tolentino,  Rome,  and 
now  in  the  Berlin  Museum. 

Restorations:  The  nose,  right  arm,  left  forearm  and  hand, 
both  feet,  the  pillar  and  small  pieces,  chiefly  in  the  drapery. 
Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No.  7. 

590  WOUNDED  AMAZON.  Another  Roman  copy  of  the 
same  statue.  Provenance  uncertain.  In  Fansdowne  House, 
London. 

Restorations:  Half  of  the  nose,  the  half  of  the  right  arm 
turned  towards  the  spectator,  the  tip  of  the  thumb  and  four 
fingers  of  the  right  hand,  half  the  left  forearm,  including 
the  hand,  both  legs  from  below  the  knee,  and  most  of  the 
column. 

Michaelis,  Ancient  Marbles  in  Great  Britain,  p.  462,  No.  83. 

591  HEAD  OF  A WOUNDED  AMAZON.  From  a Roman 
copy  of  the  same  statue.  Formerly  in  the  Townley  Col- 
lection, and  now  in  the  British  Museum. 


8o  GREEK  AND  ROMAN  SCULPTURE 

Restorations:  The  tip  of  the  nose,  the  throat,  and  the 
bust. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  503. 

592  THE  “FARNESE  HERA.”  Roman  copy  of  a work  of 
the  second  half  of  the  fifth  century  B.  C.  The  type  was 
probably  derived  from  the  Argive  statue  of  Hera,  by  Poly- 
kleitos.  Formerly  in  the  Farnese  Collection,  and  now  in 
the  Museum  of  Naples. 

Restorations:  The  end  of  the  nose,  and  a piece  on  each  side 
of  the  bust. 

Baumeister,  Denkmdler,  HI,  p.  1353,  fig.  1506. 

593-595  FRAGMENTS  OF  SCULPTURES  FROM  THE  HER- 
AION  NEAR  ARGOS. 

593  Head  of  Hera  (?).  From  one  of  the  pediments. 
Argive  Heraeum,  pi.  XXXVI. 

594  Helmeted  Head  (Athena?).  From  a metope. 
Argive  Heraeum,  pi.  XXXIII,  i and  2. 

595  Head  of  an  Amazon.  From  a metope. 

Argive  Heraeum,  pl.  XXXI,  3. 

School  of  Polykleitos,  about  420  B.  C.  In  the  National 
Museum,  Athens. 

596  THE  “IDOLINO.”  Bronze  statue  of  a boy,  probably  in 
the  act  of  making  a libation  in  recognition  of  his  victory  in 
an  athletic  contest.  School  of  Polykleitos;  second  half  of 
the  fifth  century  B.  C.  Found  at  Pesaro,  near  Ancona,  and 
now  in  the  Museo  Archeologico,  Florence. 

W.  Amelung,  Fiihrer  durch  die  Antiken  in  Flo^'eni,  No.  268. 

597  YOUNG  PAN.  Roman  copy  of  a statue  of  the  school  of 
Polykleitos.  By  Marcus  Cossutius  Cerdo  (first  century  A.  D.). 
Inscribed  on  the  stump  [Maajpxoq  [Koa]aou[Ti]oc;  Kepctov 
sTcofsL  In  the  British  Museum. 

Restorations:  Both  arms,  the  legs  from  the  knees  down, 
the  base,  the  lower  part  of  the  support. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1666. 


T H E G R E A T P E R I O D 8l 

598  STATUE  OF  AN  ATHLETE.  Roman  copy  of  a work 
of  the  second  half  of  the  fifth  century  B.  C.  Style  of  Poly- 
kleitos.  In  the  Albertinum,  Dresden. 

Restorations:  The  left  part  of  the  upper  lip  and  the  nose. 
Furtwangler,  Masterpieces,  p.  265,  pi.  XII. 

»599  DIONYSOS.  Roman  copy  of  a statue  of  the  school  of 
Polykleitos  (end  of  the  fifth  or  beginning  of  the  fourth 
century  B.  C.).  Found  in  Hadrian's  Villa,  Tivoli,  and  now 
in  the  Museo  delle  Terme,  Rome. 

Restorations:  The  front  of  the  nose,  a piece  on  the  chin, 
the  hoofs  on  the  nebris,  some  of  the  fingers  of  the  left  hand, 
the  left  foot  and  leg  from  below  the  knee,  most  of  the  tree- 
trunk,  and  the  plinth. 

Helbig,  Guide,  II,  No.  1022. 

600  BRONZE  HEAD  of  a victorious  athlete.  Second  half  of 
the  fifth  century  B.  C.  Found  in  the  neighborhood  of 
Naples,  and  formerly  in  the  Villa  Albani.  Now  in  the 
Glyptothek,  Munich. 

Restoration:  The  bust. 

Furtwangler,  Beschreibung  der  Glyptothek,  No.  457. 


MISCELLANEOUS  SCULPTURES  OF  THE  PERIOD 

601  THE  NIKE  OF  PAIONIOS.  Votive  offering  of  the  Mes- 
senians  and  Naupaktians  at  Olympia.  The  inscription  on 
the  base  reads: 

Msaadcvioi  y.a\  Nau'iraT-Tiot  avIOsv  Ad 
’OXup.xtG>  BexocTav  dxb  twv 
ITaubvtoq  IxotYjas  Msvoaloq 
y.al  Ta7.p(i)TY]pia  xoiwv  Ixl  tov  vabv  £vc/.a. 

*‘The  Messenians  and  the  Naupaktians  dedicated  this  statue 
to  the  Olympian  Zeus  with  a tithe  of  the  spoils  taken  from 
their  enemies.  Paionios  of  Mende  made  it;  he  was  also 
victorious  in  the  competition  for  the  akroteria  on  the  temple.” 
The  campaign  referred  to  is  probably  that  of  Sphakteria, 
B.  C.  425,  and  the  date  of  the  statue  is  therefore  probably 
about  B.  C.  420.  It  was  found  at  Olympia,  near  its 
original  site,  east  of  the  temple  of  Zeus.  In  the  Museum  of 
Olympia. 

Olympia,  HI,  Die  Bildwerke,  Atlas,  pis.  46-48. 


82  GREEK  AND  ROMAN  SCULPTURE 

602  BRONZE  STATUE  OF  A BOY.  About  400  B.  C.  Found 
in  the  sea,  probably  near  Eleusis.  In  the  Berlin  Museum. 
Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No.  i. 

603  H EAD  OF  KRONOS.  Roman  copy  of  a work  of  the  end  of 
the  fifth  or  the  beginning  of  the  fourth  century  B.  C.  In 
the  Vatican. 

Restorations:  The  nose,  the  lower  part  of  the  garment 
hanging  from  the  head,  the  bust. 

Helbig,  Guide,  I,  No.  239. 

604  HEAD  OF  HERA  (?),  said  to  have  been  found  at  Girgenti. 
Roman  (?)  copy  of  a work  of  the  second  half  of  the  fifth 
century  B.  C.  The  genuineness  of  this  head  has  been 
doubted.  In  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  504. 

605  THE  BORGHESE  ACHILLES  OR  ARES,  so  called. 
Roman  copy  of  a statue  of  the  end  of  the  fifth  or  beginning 
of  the  fourth  century  B.  C.  Formerly  in  the  Borghese  Col- 
lection in  Rome,  and  now  in  the  Museum  of  the  Louvre, 
No.  866. 

Restorations:  Half  of  the  right  hand,  the  left  arm  from 
the  deltoid,  three  toes  of  the  right  foot,  the  large  toe  of  the 
left  foot. 

Friederichs-Wolters,  No.  1298. 

Furtwangler,  Masterpieces,  p.  89,  note  8. 

606  THE  “MATTE!  AMAZON.”  Roman  copy  of  a statue 
of  the  second  half  of  the  fifth  century  B.  C.  Wrongly 
restored  as  in  the  act  of  taking  off  her  bow.  The  original 
motive  is  uncertain.  Formerly  in  the  Villa  Mattel,  and 
now  in  the  Vatican. 

Restorations:  The  neck,  both  arms,  the  right  leg  from  the 
knee  to  the  ankle,  the  crest  of  the  helmet,  the  upper  half  of 
the  quiver,  the  upper  half  of  the  tree-trunk,  with  the  shield 
and  axe  upon  it.  The  head  is  ancient,  but  does  not  belong 
to  the  statue. 

Helbig,  Guide,  I,  No.  195. 

607  AMAZON.  Roman  copy  of  a statue  of  the  second  half  of 
the  fifth  century  B.  C.  reproducing  the  same  type  as  No. 
606.  Formerly  in  the  Villa  d’Este,  at  Tivoli,  and  now  in 
the  Museum  of  the  Capitol,  Rome. 


THEGREATPERIOD  83 

Restorations:  The  neck,  the  right  arm,  the  left  upper  arm, 
the  index  finger,  middle  finger  and  end  of  the  thumb  of  the 
left  hand,  the  bow,  the  right  foot,  the  left  leg  from  the  middle 
of  the  thigh  to  below  the  knee,  the  toes  of  the  left  foot,  the 
upper  part  of  the  stump,  the  plinth  and  the  helmet.  The 
head  is  ancient,  but  does  not  belong  to  the  statue. 

Helbig,  Guide,  I,  No.  530. 

608  STANDING  DISKOBOLOS.  (disk-thrower).  Roman  copy 
of  a statue  of  the  end  of  the  fifth  century  B.  C.  Ascribed 
by  some  archaeologists  to  the  sculptor  Alkamenes,  but  with- 
out sufficient  foundation.  Found  on  the  Appian  Way,  and 
now  in  the  Vatican. 

Restorations:  The  fingers  of  the  right  hand,  and  a few 
unimportant  pieces. 

Helbig,  Guide,  I,  No.  331. 

609  COLOSSAL  BUST  OF  HERA  OR  DEMETER.  Roman 
copy  of  a work  of  the  second  half  of  the  fifth  century  B.  C. 
Formerly  in  the  Ludovisi  Collection,  and  now  in  the  Museo 
delle  Terme,  Rome. 

Restorations:  The  end  of  the  nose  and  a piece  of  the  neck. 
Helbig,  Guide,  II,  No.  880. 

610  SO-CALLED  DIOMEDES.  Roman  copy  of  a statue 
of  the  second  half  of  the  fifth  century  B.  C.  In  the  Glypto- 
thek,  Munich. 

Restorations:  The  nose,  parts  of  the  chlamys  and  the 
sword.  The  cast  shows  the  figure  without  the  legs  and 
forearms,  which  have  been  restored  on  the  original. 
Furtwangler,  Beschreibung  der  Glypiothek,  No.  304. 

61  I STATUE  OF  A YOUTH  in  the  act  of  crowning  himself  (?). 
Roman  copy  of  a work  of  the  end  of  the  fifth  century  B.  C. 
In  the  Barracco  Museum,  Rome. 

Barracco  and  Helbig,  Catalogue  of  the  Barracco  Collection, 
pis.  XXXVIII,  XXXVHIa. 

612  NIKE  (VICTORY)  SACRIFICING  A BULL.  Roman 
copy  of  a fifth  century  type.  Found  in  the  Villa  of  Antonin- 
us Pius,  near  Lanuvium,  and  now  in  the  British  Museum. 
Restorations:  On  the  Nike,  the  wings,  the  neck,  the  right 


84  GREEKANDROMAN  SCULPTURE 

arm  from  the  shoulder,  parts  of  the  drapery,  and  the  right 
foot.  On  the  bull,  the  left  fore  leg  and  some  minor  parts, 
including  a portion  of  the  plinth. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum f III,  No.  1699. 


GRAVE  MONUMENTS  OF  THE  FIFTH 
AND  FOLLOWING  CENTURIES 
(in  galleries  22  AND  23) 

IN  the  sculptured  grave  stelae  of  the  fifth  and  fourth  cen- 
turies B.  C.,  the  favorite  subject  is  the  representation  of 
the  person  on  whose  grave  the  relief  was  placed,  surrounded 
by  the  people  and  things  associated  with  him  in  his  life  on 
earth.  There  is  never  an  attempt  to  show  the  departed  in  his 
future  existence,  and  only  in  rare  cases  do  we  find  a death-bed 
scene.  The  hunter  appears  with  his  dog  (No.  637),  the  athlete  with 
his  oil  flask  (No.  620),  the  warrior  fighting  (No.  630),  and  the 
lady  of  the  house  is  waited  on  by  her  maid-servant  (No. 
618).  In  others  we  find  a family  group,  sometimes  of  two,  often 
of  more  figures.  Here  there  is  generally  an  indirect  reference  to 
death.  An  indescribable  sadness  pervades  the  scene,  as  though 
the  shadow  of  coming  sorrow  was  upon  the  group;  often  this  feel- 
ing of  approaching  departure  is  further  emphasized  by  represent- 
ing the  two  principal  figures  as  clasping  hands  in  a long  farewell. 
Such  groups  were  doubtless  erected  over  family  graves.  The 
names  of  the  deceased  are  frequently  inscribed. 

It  is  important  to  realize  that  these  stelae  were  the  works  not 
of  eminent  sculptors,  but  of  simple  artisans,  and  were  turned  out 
in  large  quantities,  just  as  tombstones  are  to-day.  The  execu- 
tion in  them  is  therefore  often  superficial,  and  the  figures  cannot  be 
regarded  as  individual  portraits,  but  rather  as  general  types. 
A number  of  them  were  probably  kept  in  stock,  and  the  names  in- 
scribed as  occasion  arose.  The  chief  charm  of  these  reliefs  is 
their  perfect  simplicity;  if  we  compare  them  with  some  modern 
productions,  this  quality  is  very  noticeable,  and  teaches  us  that 
in  Athens  restraint  and  good  taste  did  not  remain  the  peculiar 
possession  of  distinguished  artists,  but  pervaded  all  classes  of  the 
community. 


86  GREEK  AND  ROMAN  SCULPTURE 

613  STELE  OF  VEKEDAMOS.  The  relief  represents  a young 
man,  and  is  inscribed  Fexsooc^oq.  Middle  of  the  fifth  cen- 
tury B.  C.  Found  at  Larissa,  in  Thessaly,  and  now  in  the 
National  Museum,  Athens,  No.  734. 

Friederichs-Wolters,  No.  39. 

614  STELE  OF  POLYXENE.  Inscribed,  on  the  edge,  HoXu-  • 
^svafoc  “ I am  Polyxene.’*  Middle  of  the  fifth  century 

B.  C.  Found  at  Larissa,  in  Thessaly,  and  now  in  the 
National  Museum,  Athens,  No.  733. 

Friederichs-Wolters,  No.  40. 

615  HEAD  OF  A YOUTH.  Fragment  of  a grave  relief,  of 
the  middle  of  the  fifth  century  B.  C.  Said  to  have  been 
found  at  Megara,  and  now  in  the  Berlin  Museum. 

Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No. 

735- 

616  STELE  OF  A YOUTH,  represented  as  carrying  a hare  and 
an  apple.  Middle  of  the  fifth  century  B.  C.  Found  in 
Thessaly,  and  now  in  the  National  Museum,  Athens. 
KdiWV'ddidiS,  Catalogue,  No.  741. 

617  STELE  OF  PHILIS.  Inscribed  KXsop-sBouq, Philis, 
daughter  of  Kleomedes.”  The  relief  represents  a girl  hold- 
ing a casket.  Middle  of  the  fifth  century  B.  C.  Found  in 
the  island  of  Thasos,  and  now  in  the  Museum  of  the  Louvre, 
No.  766. 

Prachov,  Annali  delV  Instituto,  1872,  pi.  L,  p.  185. 

618  STELE  OF  HEGESO,  representing  an  Athenian  lady  waited 

on  by  her  attendant.  Inscribed:  'Hy-rjco)  Ilpo^evou. 

“Hegeso,  daughter  of  Proxenos.”  Attic;  second  half  of 
the  fifth  century  B.  C.  On  its  original  site  in  the  Kerameikos. 
Conze,  Attische  Grahreliejs,  No.  68,  pi.  XXX. 

619  FRAGMENT  OF  A STELE,  representing  a bearded  man 
holding  a staff.  Second  half  of  the  fifth  century  B.  C. 
Found  at  Ikaria,  in  Attica,  and  now  in  the  National  Mu- 
seum, Athens. 

C.  D.  Buck,  American  Journal  0}  Archaeology,  V,  1889, 
p.  467,  VII,  pi.  XI,  2. 


GRAVE  MONUMENTS 


87 

620  THE  AGATHOKLES  STELE.  Stele  representing  a young 
athlete  with  his  dog,  strigil,  and  oil-jug.  Second  half  of  the 
fifth  century  B.  C.  The  inscription  ’ Aycx06"/,>^-rj  yodps,  “Aga- 
thokles  farewell,”  is  several  hundred  years  later  than  the 
monument  itself.  Found  at  Thespiae,  in  Boeotia,  and  now 
in  the  National  Museum,  Athens. 

Kavvadias,  Catalogue,  No.  742. 

621  FRAGMENT  OF  A STELE,  representing  a woman  stand- 
ing. Second  half  of  the  fifth  century  B.  C.  Found  at 
Mantineia,  and  now  in  the  National  Museum,  Athens, 
No.  226. 

G.  Fougeres,  Bulletin  de  correspondance  hellenique,  XII,  1888, 
pi.  IV,  p.  376. 

622  UPPER  PART  OF  A STELE,  representing  a youth  with 
his  slave  and  pet  animals.  Second  half  of  the  fihh  century 
B.  C.  Found  at  Aegina,  and  now  in  the  National  Museum, 
Athens. 

Conze,  Attische  Grahreliefs,  No.  1032,  pi.  CCIV. 

623  UPPER  PART  OF  A STELE,  representing  a bearded  man 
in  a himation.  Attic;  second  half  of  the  fifth  century  B.  C. 
Found  at  Karystos,  in  Euboea,  and  now  in  the  Berlin  Mu- 
seum. 

Berlin  Museum,  Beschreihung  der  antiken  Skulpturen, 
No.  736. 

624  STELE  OF  MYNNO.  Inscribed  Muvvw.  The  relief  repre- 
sents a young  girl  spinning.  Attic  ; fifth  century  B.  C. 
Found  between  Athens  and  the  Peiraieus,  and  now  in  the 
Berlin  Museum,  No.  737. 

Conze,  Attische  Grahreliefs,  No.  38,  pi.  XVII. 

625  STELE  OF  A GIRL  (AMPHOTTO).  Of  Boeotian  stone. 
Inscribed  ’A^xcpoTTO.  Fifth  century  B.  C.  Found  at  Thebes, 
and  now  in  the  National  Museum,  Athens. 

Kavvadias,  Catalogue,  No.  739. 

626  FRAGMENT  OF  A STELE,  with  the  head  of  a woman. 
Latter  part  of  the  fifth  century  B.  C.  In  Lansdowne  House, 
London. 

Conze,  Attische  Grahreliefs,  No.  586,  pl.  CXVI. 


88  GREEKANDROMANSCULPTURE 

627  LARGE  RELIEF  IN  THE  VILLA  ALBANI.  This  is 
perhaps  a grave  stele,  and  represents  a young  warrior 
killing  his  foe.  Attic;  about  400  B.  C.  Found  near  the 
arch  of  Gallienus,  Rome,  and  now  in  the  Villa  Albani. 
Restorations:  The  nose  of  the  standing  figure  and  a piece 
in  his  left  forearm;  also  the  right  ear  and  a piece  in  the  face 
of  the  horse. 

Helbig,  Guide,  II,  No.  759. 

628  STELE  OF  XANTHIPPOS,  representing  a bearded  man 
holding  either  a foot,  perhaps  as  a votive  offering  to  com- 
memorate a cure,  or  a last,  to  indicate  the  trade  of  the  de- 
ceased. Inscribed  EavOtxxoc;.  Attic ; end  of  the  fifth  cen- 
tury B.  C.  Found  in  Athens,  and  now  in  the  British  Mu- 
seum, No.  628. 

Conze,  Attische  Grabreliejs.,  No.  696,  pi.  CXIX. 


629  STELE  REPRESENTING  A GIRL,  carrying  a casket. 
End  of  the  fifth  century  B.C.  Formerly  in  the  Palazzo 
Giustiniani  alle  Zattere,  Venice,  and  now  in  the  Berlin  Mu- 
seum. 

Friederichs-Wolters,  No.  241. 

630  STELE  OF  DEXILEOS  representing  a young  warrior 

killing  his  foe.  The  inscription,  which  is  on  the  base  and  is 
not  shown  in  the  cast,  reads:  Auaavtou  Oopt^-iog. 

'EyevsTO  Ixi  Tstadv^pou  dp^^ovToq,  dxeOavs  k%  Eu^ouX(Sou 
ey  KopivOwi  twv  tuIvts  IxtcIwv,  “Of  Dexileos,  the  son  of  Lu- 
sanios,  of  the  deme  of  Thorikos.  He  was  born  during  the 
archonship  of  Teisandros  [B.  C.  414]  and  died  during  that  of 
Euboulides,  at  Corinth,  one  of  the  five  knights.’"  The 
reference  is  to  the  battle  of  Corinth,  which  took  place  in 
394  B.  C.  The  stele  is  in  its  original  position  in  the  Kera- 
meikos  in  Athens. 

Conze,  Attische  Grabreliejs,  No.  1 1 58,  pi.  CCCX  LVI 1 1. 

631  GRAVE  MONUMENT  IN  THE  FORM  OF  AN  AKRO- 
TERION,  with  the  figure  of  a girl  against  a background  of 
palmettes  and  volutes.  Attic;  beginning  of  the  fourth 
century  B.  C.  Found  at  Trachones,  Attica,  and  now  in  the 
National  Museum,  Athens,  No.  744. 

Conze,  Attische  Grabreliejs,  No.  852,  pi.  CLXV. 


GRAVE  MONUMENTS 


89 

632  STELE  OE  ARCHESTRATE,  in  Athens.  Subject,  a do- 

mestic scene.  Inscribed:  ’EvOaoe  ty]v  aya6T]v  x.al  aw^pova 
yat  ’Ap^£(JTpaTif]v  avop'i  'juoOetvoTd'UYjv,  *‘Here  earth 

conceals  the  good  and  wise  Archestrate,  most  beloved  by 
her  husband."  Attic;  fourth  century  B.  C.  Found  in 
Attica,  and  now  in  the  National  Museum,  Athens,  No.  722. 
Conze,  Attische  Grahreliejs,  No.  290,  pi.  LXVIII. 

633  STELE  OF  ARCHESTRATE,  in  Leyden.  The  inscription, 
which  is  not  shown  in  the  cast,  reads:  ’Ap^saTpccTYj  ’AXs^ou 
Souvi£(i)c;,  ‘‘Archestrate,  the  daughter  of  Alexos  of  Sunium." 
The  relief  represents  a seated  woman  with  two  other  women. 
Attic;  fourth  century  B.  C.  Found  at  Aixone,  in  Attica, 
and  now  in  the  Museum  of  Leyden. 

Friederichs-Wolters,  No.  1049. 

634  STELE  OF  AMEINOKLEIA.  Inscribed:  ’ApistvoxXsia 
’ AvBpopievoLK;  OuydTYjp  A . . .,  “ Ameinokleia,  daughter  of 
Andromenes."  The  relief  represents  a lady  having  her 
sandals  adjusted  by  her  attendant.  Found  in  the  Peiraieus, 
and  now  in  the  National  Museum,  Athens,  No,  718. 

Conze,  Attische  Grahreliejs,  No.  901,  pi.  CLXXVII. 

635  STELE  OF  KORALLION,  with  a farewell  scene  in  relief. 
Inscribed:  KopdXXiov  ’Ayd0o)vo<;  yuv/],  “ Korallion,  wife  of 
Agathon."  Attic;  fourth  century  B.  C.  Found  in  the  Ke- 
rameikos,  and  still  in  its  original  position. 

Conze,  Attische  Grahreliejs,  No.  41 1,  pi.  XCVIII. 

636  STELE  OF  DEMETRIA  AND  PAMPHILE.  The  relief 
represents  two  women  inscribed  AY]p.Y]Tpta  and  IlapicptXrj. 
Their  inscriptions  are  not  shown  in  the  cast.  Attic;  fourth 
century  B.  C.  Found  in  the  Kerameikos,  and  re-erected  on 
its  original  position. 

Conze,  Attische  Grahreliejs,  No.  109,  pi.  XL. 

637  STELE  REPRESENTING  A YOUNG  HUNTER  with 
his  father  and  slave.  Attic;  fourth  century  B.  C.  Found 
in  the  bed  of  the  Ilissos,  and  now  in  the  National  Museum, 
Athens,  No.  869. 

Conze,  Attische  Grahreliejs,  No.  1055,  pi.  CCXI. 

638  STELE  OF  PHILINO,  representing  a farewell  scene.  The 
inscription,  which  is  on  the  epistyle,  is  not  shown  in  the  cast. 


90  GREEK  AND  ROMAN  SCULPTURE 

Attic;  fourth  century  B.  C.  Found  near  Athens,  and  now 
in  the  National  Museum  there,  No.  832. 

Conze,  Attische  Grahreliejs,  No.  337,  pi.  LX XXV. 

639  STELE  WITH  A FAREWELL  SCENE.  Attic;  fourth 
century  B.  C.  Eound  in  the  Kerameikos,  Athens,  and  now 
in  the  National  Museum  there.  No.  717. 

Conze,  Attische  Grahreliejs,  No.  322,  pi.  LX XX. 

640  STELE  REPRESENTING  A WOMAN  carrying  an  oino- 
choe.  Eourth  century  B.  C.  Found  in  the  Kerameikos, 
Athens,  and  still  in  its  original  position. 

Conze,  Attische  Grahreliejs,  No.  805,  pi.  CLIL 

641  FRAGMENT  OF  A STELE,  with  the  head  of  a woman. 
Attic;  fourth  century  B.  C,  Found  at  Eretria,  and  now 
in  the  Berlin  Museum. 

Berlin  Museum,  Beschreihung  der  antiken  SkulpturenjHo.  743. 

642  GRAVE  RELIEE,  probably  of  a theatrical  personage. 
Fourth  century  B.  C.  The  inscribed  names  ‘Dionysos’  and 
^Paideia’  are  of  a later  date  than  the  relief.  Found  in  the 
harbor  of  the  Peiraieus,  and  now  in  the  Museum  there. 

In  Gallery  27. 

C.  Robert,  Athenische  Mitteilungen,  VII,  1882,  p.  389,  pi.  14. 

643  MOURNING  HANDMAID.  A grave  monument  of  the 
fourth  century  B.  C.  Found  near  Menidi,  in  Attica,  and 
now  in  the  Berlin  Museum. 

Berlin  Museum,  Beschreihung  der  antiken  Skulpturen,  No. 

4q8. 

644  MONUMENT  IN  THE  FORM  OF  A MOLOSSIAN 
HOUND.  Attic;  fourth  century  B.  C.  In  its  original  pos- 
ition in  the  Kerameikos,  Athens. 

In  Gallery  25. 

V.  Sybel,  Katalog  der  Skulpturen  lu  Athen,  No.  3325* 

^645  GRAVE  RELIEF,  KNOWN  AS  THE  “DEATH  OF 
SOKRATES.”  It  represents  a sepulchral  banquet,  prob- 
ably a symbolic  representation  of  offerings  made  to  the  dead. 
Attic;  fourth  century  B.  C.  Found  in  the  Peiraieus,  and 
now  in  the  National  Museum,  Athens. 

Friederichs-Wolters,  No.  1052. 


GRAVE  MONUMENTS 


91 

646  STELE  REPRESENTING  A SEPULCHRAL  BANQUET 
{cj.  No.  645).  Attic;  fourth  century  B.  C.  Found  in  the 
Peiraieus,  and  now  in  the  Museum  there. 
Friederichs-Wolters,  No.  1053. 

647  STELE  REPRESENTING  A SEPULCHRAL  BANQUET 
{cf.  No.  645).  Attic;  fourth  century  B.  C.  Found  in  the 
Peiraieus,  and  now  in  the  National  Museum,  Athens. 
Friederichs-Wolters,  No.  1058. 

648  STELE  OF  ARISTOGEITON,  with  a loutrophoros  in  re- 
lief. Inscribed:  ’ ApicjToysfTOiv  Nixfou  ’ AXwtusx-^Osv,  “Aristo- 
geiton,  the  son  of  Nikios,  of  the  deme  of  Alopeke.”  Found 
in  Goudi,  near  Ambelokipi,  and  now  in  the  National  Museum, 
Athens,  No.  941. 

Conze,  Attische  Grabreliejs,  No.  1350,  pi.  CCLXXXHI. 

649  GRAVESTONE  IN  THE  FORM  OF  A LARGE  LE- 
KYTHOS,  with  reliefs  representing  warriors  and  a group  of 
women.  The  latter  must  have  been  added  later,  and  by  a 
different  hand  from  that  which  executed  the  warriors. 
Attic;  about  400  B.  C.  Found  in  Athens,  and  now  in  the 
National  Museum  there. 

Conze,  Attische  Grabreliejs,  No.  1073,  CCXVIII  and  CCXIX. 

650  GRAVESTONE  IN  THE  FORM  OF  A LARGE  LE- 
KYTHOS  (the  upper  part  is  missing),  decorated  with  reliefs 
representing  two  female  figures  clasping  hands,  between 
two  bearded  figures.  Inscribed  with  the  names:  Mys, 
Philia,  Metrodora,  .Meles.  Perhaps  from  Athens.  In  the 
British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  688. 

651  GRAVE  RELIEF  OF  EXAKESTES  AND  HIS  WIFE 
METRE  IS,  represented  as  clasping  hands.  Above  is  an 
inscription  referring  to  some  honor  conferred  upon  each 
of  them  by  the  Athenians:  '0  cf^p.Os  ’E^ay,£C7TY]v  ’Avopo^ou- 
XoD.  '0  OY][jLog  MrjTpsIv  'EppifTuxou,  ’EcaxecTTO’j  Be  yuvatxa. 
Perhaps  from  Smyrna.  In  the  British  Museum. 

In  Gallery  29. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  704. 


92  GREEK  AND  ROMAN  SCULPTURE 

652  STELE  OF  ARCHEDEMOS,  with  a sepulchral  vase  in  re- 

lief, on  which  is  represented  a farewell  scene.  Inscribed: 
' Apxihri\Loq  ’ Ao%eliy.ou  "A6[xov£u(q).  ’Ap)^eBt7,0(;  'Apxshri- 

p,ou.  Xaipeaq  ’ Ap/£5T5p,o(u),  “Archedemos,  the  son  of 
Archedikos,  of  the  deme  of  Athmonia.  Archedikos,  the 
son  of  Archedemos.  Chaireas,  the  son  of  Archedemos.’" 
On  the  mouth  of  the  vase:  4>iXta  IlavTocxX£o(u<;)  ’A0p.ov£O)(;, 
‘Thilia,  the  daughter  of  Pantakles  of  the  deme  of  Athmo- 
nia.’’ Found  at  Marousi,  near  Athens,  and  now  in  the  Mu- 
seum of  the  Louvre,  No.  783. 

Conze,  Griechische  Grahreliejs,  No.  1 136,  pi.  CCXXX. 

653  FRAGMENT  OF  THE  STELE  OF  KALLIAS,  with  a 
loutrophoros  in  relief.  Inscribed:  KaXXcag  <Lt>.£Tacpou 
^aXf]p£u<;,  “ Kallias,  the  son  of  Philetairos,  of  the  deme  of 
Phaleron.”  Formerly  in  the  Stoa  of  Hadrian,  and  now  in  the 
National  Museum,  Athens,  No.  757. 

Conze,  Attische  Grahreliejs,  No.  1369,  pi.  CCLXXXVIII. 

654  SARCOPHAGUS,  found  in  a tomb  at  Sidon,  in  Syria.  End 
of  the  fourth  century  B.  C.  In  the  Imperial  Museum,  Con- 
stantinople. 

Cast  presented  by  Edward  D.  Adams. 

This  is  No.  6 of  the  sarcophagi  described  by  Hamdy  Bey 
and  Theodore  Reinach  in  One  Necropole  royale  a Sidon. 

655  PORTION  OF  A SARCOPHAGUS,  representing  the  battle 
of  the  Greeks  and  Amazons.  End  of  the  fourth  century  B.  C. 
Said  to  have  been  found  in  Greece.  Formerly  in  the  pos- 
session of  the  Fugger  family,  and  now  in  the  Imperial  Mu- 
seum, Vienna. 

In  Hall  38. 

Robert,  Die  antiken  Sarkophagreliefs,  II,  pi.  XXVII,  Nos. 
68,  68b,  pp.  78ff. 

656  STELE  OF  A WARRIOR.  The  relief  represents  a warrior 
and  a woman  standing  by  a trophy.  The  inscription,  which 
is  probably  earlier  than  the  relief,  commemorates  persons 
belonging  to  various  parts  of  the  Peloponnesos,  northern 
Greece,  Thrace,  and  Macedonia.  In  the  British  Museum. 
In  Gallery  27. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  1,  No.  750. 


GRAVE  MONUMENTS 


93 

657  STELE  OF  JASON,  representing  a physician  examining 

a boy.  Inscribed  with  the  names  of  Jason,  a physician  of 
the  Acharnian  deme,  called  also  Decimus,  and  other  mem- 
bers of  his  family  (’laawv  6 xocl  ’Axapveuq  taxpoc; 

y..  X.  From  Athens.  In  the  British  Museum. 

In  Gallery  27. 

A.  H.  Smith,  Catalogue  of  Greek  Scutpture*  in  the  British 
Museum,  I,  No.  629. 

658  STELE  OF  ARTEMIDOROS.  Of  limestone.  The  relief  is 

in  two  panels.  The  upper  part  is  broken  away;  on  the  lower 
panel  is  a horseman.  The  inscription  reads:  ’Apx£p.(6a)p£ 
Atoya  ext  xY]q  xtvaxetBo*;,  “Hail,  Artemidoros,  son 

of  Diogas,  officer  in  charge  of  the  list.”  Found  at  Kertsch, 
in  the  Crimea,  and  now  in  the  British  Museum. 

In  Gallery  27. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  664. 

659  STELE  OF  ARISTOKLES,  representing  a horseman. 
Inscribed: 

IloXXoc  pLe6’T^Xtxta<;  6\LorikiY.oq  if^Bea  xataotq 
ex  ycd(xq  ^Xaaxwv  yaict  xaXtv  yeyovcz. 

Etp.1  Be  ’AptcrxoxX'^^  Hetpateijq,  xat<;  Be  Mevwvoc;. 
“After  many  pleasant  sports  with  my  comrades,  I who 
sprang  from  dust,  am  dust  once  more.  I am  Aristokles, 
ofthePeiraieus,sonofMenon.”  FromAthens.  In  the  British 
Museum. 

In  Gallery  27. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  638. 

660  SHOULDER  OF  AN  AMPHORA.  Detail  from  an  Attic 
grave  monument.  Fourth  century  B.  C.  In  the  National 
Museum,  Athens. 

Conze,  AtUsche  Grabreliefs,  No.  1721,  pis.  CCCLXIX  and 
CCCLXX. 

661  FRAGMENT  OF  A STELE,  showing  the  section  of  the 
upper  part  of  a loutrophoros. 

662  AKROTERION  OF  A STELE,  erected  for  the  Athenian 
knights  who  fell  at  Corinth  and  Koroneia,  during  the  Cor- 
inthian war  (394  B.  C.).  Below  the  ornament  are  cut  the 


94  GREEK  AND  ROMAN  SCULPTURE 

names  of  those  who  perished;  these  were  arranged  in  col- 
umns of  which  only  the  upper  parts  remain.  Found  in 
the  Kerameikos,  and  now  in  the  National  Museum,  Athens, 
No.  754. 

Conze,  Attische  Grabreliefs,  No.  1157. 

663  AKROTERION  OF  A STELE,  restored.  Attic;  fourth 
century  B.  C.  The  original,  unrestored,  is  in  the  Museum  of 
Fine  Arts,  Boston. 

Cast  presented  by  Edward  D.  Adams. 

Boston  Museum  of  Fine  Arts,  Annual  Report,  1904,  p.  55. 

664  AKROTERION.  It  has  been  described  as  an  antefix 
from  the  temple  of  Demeter  at  Eleusis,  but  it  is  more  prob- 
ably the  ornament  of  a grave  stele.  In  the  British  Museum, 
No.  438. 

Conze,  Attische  Grabreliejs,  No.  1537,  pi.  CCCXX. 

665  AKROTERION  OF  THE  STELE  OF  ONESICHA.  Found 
in  the  Peiraieus,  and  now  in  the  National  Museum,  Athens, 
No.  928. 

Conze,  Attische  Grabreliejs,  No.  1645,  pi.  CCCXLVIII. 

666  AKROTERION  OF  A STELE.  In  the  British  Museum, 
No.  607. 

Conze,  Attische  Grabreliejs,  No.  1599,  pi.  CCCXXXIX. 

667  AKROTERION  OF  THE  STELE  OF  N I KE,  the  daughter 
of  Dositheos.  Third  century  B.  C.  Found  at  Tenos,  and 
now  in  the  National  Museum,  Athens. 

V.  Stais,  Marhres  et  bronzes  du  Musee  National,  No.  1028. 

668  AKROTERION  OF  THE  STELE  OF  THE  BROTHERS 
AGATHON  AND  SOSIKRATES.  In  the  Kerameikos, 
Athens. 

Conze,  Attische  Grabreliejs,  No.  1535. 

669  UPPER  PART  OF  THE  STELE  OF  DEINIAS  AND  HIS 
SON  PHILOKRATES.  Found  near  Velanideza,  and  now 
in  the  National  Museum,  Athens,  No.  858. 

Conze,  Attische  Grabreliejs,  No.  1540,  pi.  CCCXX  1 1. 


GRAVE  MONUMENTS 


95 

670  UPPER  PART  OF  THE  STELE  OF  MNESISTRATE.  In- 
scribed: MvY]cric7TpaTY].  Found  at  Salamis,  and  now  in  the 
National  Museum,  Athens,  No.  826. 

Conze,  Attische  Grabreliefs,  No.  1556,  pi.  CCCXXV. 

671  UPPER  PART  OF  THE  STELE  OF  EUMACHOS.  In- 
scribed ’EuOupLaxou(’ A)X(OT:s(z)Ti0£(v),  "‘Eumachos, 

the  son  of  Euthumachos,  of  the  deme  of  Alopeke.”  In  the 
British  Museum,  No.  605. 

Conze,  Attische  Grabreliefs,  No.  161 1,  pi.  CCCXLH. 

672  UPPER  PART  OF  THE  STELE  OF  SMI KYLION.  In- 
scribed Sp.r/,u Letov  ’EuaLy.ccou  H Kepapiltov,  “Smikylion, 
son  of  Eualkides,  of  the  deme  of  the  Kerameikos.”  Found 
in  Athens,  and  now  in  the  British  Museum,  No.  599. 

Conze,  Attische  Grabreliefs,  No.  1624,  pi.  CCCXLIV. 

673  UPPER  PART  OF  THE  STELE  OF  THEOPHILE.  In- 
scribed: OeoqpfXY]  AtoxLlo'jq  'Pap-vouatou,  "‘Theophile,  daugh- 
ter of  Diokles,  of  the  deme  of  Rhamnus.”  In  the  National 
Museum,  Athens,  No.  916. 

Conze,  Attische  Grabreliefs,  No.  1623,  pi.  CCCXLHL 

674  UPPER  PART  OF  THE  STELE  OF  EPIKRATES.  In- 
scribed: ’ExrzpaTY]<;  KY]9ccr[ou  Htovcos*;,  “Epikrates,  the  son 
of  Kephisios,  of  the  deme  of  lonidai.”  From  Salamis.  In 
the  National  Museum,  Athens,  No.  862. 

Conze,  Attische  Grabreliefs,  No.  1563,  pi.  CCCXXIX. 

675  UPPER  PART  OF  THE  STELE  OF  ERINE.  Inscribed 
with  the  names  Eutychos,  Erine,  Nikon.  The  first  and 
third  are  later  additions.  From  the  Stoa  of  Hadrian, 
Athens,  and  now  in  the  National  Museum,  No.  868. 

Conze,  Attische  Grabreliefs,  No.  1615,  pi.  CCCXLH. 

676  UPPER  PART  OF  THE  STELE  OF  MIKINES.  In- 
scribed : MeXtpotsuq,  “ Mikines  of  Meliboia.'’  Found 

at  Lochas,  in  Attica,  and  now  in  the  National  Museum, 
Athens,  No.  852. 

Conze,  Attische  Grabreliefs,  No.  1578,  pi.  CCCXXXV. 

677  UPPER  PART  OF  THE  STELE  OF  PHILIPPOS.  In- 
scribed: X^paTcovof;  MsLctsuc;,  and  lower  down 


96  GREEK  AND  ROMAN  SCULPTURE 

(<l>[X)i']uxoc;  Philippos  the  son  of  Straton,  of  the  deme 

of  Melite."  “Philippos,  Philia.”  Formerly  on  the  Akropolis, 
and  now  in  the  National  Museum,  Athens,  No.  866. 

Conze,  Attische  Grabreliefs,  No.  1617,  pi.  CCCXLII. 

678  TWO  GOATS  BUTTING.  Probably  the  akroterion  of  a 
stele.  In  the  National  Museum,  Athens. 
Friederichs-Wolters,  No.  1706. 

679  AKROTERION  OF  A STELE. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  746. 

680  AKROTERION  OE  A STELE,  with  palmette  and  scrolls. 


/ 


THE  PERIOD  OF  PRAXITELES,  SKOPAS  AND 

LYSIPPOS 

ABOUT  380-323  B.  C. 

(in  galleries  25  and  26) 

The  fifth  century  had  been  a period  of  high  ideals  both  in 
politics  and  in  religion.  To  promote  the  welfare  of 
the  state  and  the  honor  of  the  gods  was  the  highest  am- 
bition of  each  citizen,  and  as  a consequence  at  no  other 
time  in  Greek  history  did  the  political  power  of  Greece  stand  so 
high.  However,  before  long,  internal  jealousies  arose,  and  the 
Peloponnesian  war  between  Sparta  and  Athens  (431-404  B.  C.) 
broke  up  the  strength  of  the  great  Athenian  Empire,  which  had 
to  give  place  to  the  military  supremacy  first  of  Sparta,  and  then 
of  Thebes,  and  at  last  to  the  dominion  of  Philip  of  Macedon. 
The  political  unity  of  the  fifth  century  is  succeeded  by  individ- 
ualistic tendencies,  and  this  change  of  spirit  is  clearly  reflected 
in  fourth-century  art.  Each  sculptor  begins  to  work  out  his 
own  path,  and  takes  for  his  theme  the  individual  man  or  woman 
rather  than  the  type.  In  the  fifth  century  the  statues  of  the 
gods  embodied  the  deeply  religious  conceptions  of  the  age;  their 
impersonality,  immutability,  and  power  are  the  qualities  which 
impress  us  most.  The  critical  spirit  of  the  fourth  century  could 
no  longer  in  good  faith  produce  such  works.  The  Olympic  gods 
and  goddesses  now  assume  a more  human  character  and  are  dis- 
tinguished from  ordinary  mortals  by  the  perfection  of  their  beauty 
rather  than  by  their  lofty  idealism.  This  change  is  chiefly  notice- 
able in  the  treatment  of  the  face;  the  impersonal  character  of  the 
former  age  gives  place  to  a more  individualistic  conception,  in 
which  varying  moods  and  phases  of  emotion  are  expressed. 
In  this  respect  the  art  of  the  fourth  century  is  perhaps  closer  to 
our  modern  spirit,  which  delights  more  in  just  such  subtle  dis- 
tinctions of  personality  than  in  abstract  idealism. 


98  GREEKAND  ROMAN  SCULPTURE 

The  three  sculptors  who  stand  out  as  leaders  during  this  per- 
iod are  Praxiteles,  Skopas,  and  Lysippos.  Praxiteles  excelled 
chiefly  in  the  exquisite  grace  and  refinement  of  his  figures.  Skopas 
surpassed  all  others  in  the  rendering  of  passionate  emotion  and 
vivid  expression.  Both  sculptors  had  their  chief  period  of  ac- 
tivity during  the  first  half  of  the  fourth  century.  Lysippos  was 
the  principal  representative  of  the  second  half.  His  most  prom- 
inent characteristics  are  vigor,  manliness,  and  realism;  he  brings 
about  a revival  of  heroic  subjects,  many  of  his  statues  being  of 
heroes  and  athletes,  though  his  representations  of  deities  are 
also  frequent.  Lysippos  stands  on  the  threshold  of  the  Hellen- 
istic period,  on  which  he  undoubtedly  exercised  a powerful  in- 
fluence. 

THE  TRANSITION  BETWEEN  THE  SCHOOL  OF  PHEIDIAS 
AND  THAT  OF  PRAXITELES 

681  EIRENE  WITH  THE  INFANT  PLOUTOS.  Roman 
copy  of  a statue  by  Kephisodotos,  probably  erected  at 
Athens  in  commemoration  of  the  victory  of  Timotheos  over 
the  Spartans  at  Leukas,  in  375  B.  C.  Formerly  in  the 
Villa  Albani,  and  now  in  the  Glyptothek,  Munich. 
Restorations:  On  the  Eirene,  the  lower  part  of  the  nose, 
the  right  arm,  the  fingers  of  the  left  hand,  the  vase, 
pieces  in  the  folds  of  the  drapery;  on  the  child,  both  arms, 
the  left  foot,  the  fore  part  of  the  right  foot,  the  neck.  The 
head  of  the  child  is  ancient,  but  does  not  belong  to  the  figure. 
Furtwangler,  Beschreihung  der  Glyptothek,  No.  219.  For 
an  attempt  to  date  the  statue  towards  the  end  of  the  fifth 
century,  see  P.  Ducati,  Revue  archeologique,  1906,  I,  pp. 
1 1 1-138. 

682  THE  INFANT  PLOUTOS.  Fragment  from  another  rep- 
lica of  the  group  of  Eirene  and  the  infant  Ploutos,  by  Kephis- 
odotos {cf.  No.  681).  Found  in  the  Peiraieus,  and  now  in  the 
Museum  there. 

Friederichs-Wolters,  No.  1211. 

683-687  SCULPTURES  FROM  THE  TEMPLE  OF  ASKLE- 
PIOS  AT  EPIDAUROS.  380-375  B.  C.  We  know  from 
an  inscription  discovered  at  Epidauros  that  the  sculptor 
Timotheos,  perhaps  of  the  Attic  School,  furnished  models 
for  the  sculptures  of  the  temple,  and  the  akroteria  of  one 
of  the  gables. 


PERIODOF  PRAXITELES,  ETC.  99 

FROM  THE  WESTERN  PEDIMENT,  which  represented  the 
battle  of  Greeks  and  Amazons: 

683  Amazon  on  Horseback. 

684  Fragment  of  an  Amazon. 

685  Head  of  an  Amazon. 

In  the  National  Museum,  Athens,  Nos.  136,  137,  140. 
Defrasse  et  Lechat,  Epidaure,  pp.  64,  66.2,  67. 

AKROTERIA  FROM  THE  EASTERN  PEDIMENT. 

686  A Nereid  on  Horse-back. 

687  Fragment  of  a Nike  carrying  a bird. 

In  the  National  Museum,  Athens,  Nos.  157  and  155. 
Defrasse  et  Lechat,  Epidaure,  pp.  74  and  77, 

688  NIKE.  Akroterion  from  the  temple  of  Artemis  at  Epi- 
dauros.  380-375  B.  C.  In  the  National  Museum,  Athens. 
Defrasse  et  Lechat,  Epidaure,  p.  168. 

689  ASKLEPIOS  SEATED  ON  A THRONE.  Relief  found  in 
the  sanctuary  of  Asklepios  at  Epidauros.  In  the  National 
Museum,  Athens,  No.  173. 

Svoronos,  Das  aihener  N aiionalmuseum,  pi.  XXXI. 

690  IDEAL  FEMALE  HEAD,  perhaps  of  a goddess.  Original 
work  of  the  Attic  school  of  the  early  part  of  the  fourth  cen- 
tury B.  C.  In  the  Museum  of  Fine  Arts,  Boston. 
Unpublished.  For  a notice  of  its  acquisition  see  Boston  Mu- 
seum of  Fine  Arts,  Annual  Report,  1896,  p.  22. 


SCULPTURES  RELATED  TO  PRAXITELES 
AND  HIS  SCHOOL 

(in  gallery  26) 

691  THE  HERMES  OF  PRAXITELES.  Hermes  is  repre- 
sented as  the  messenger  of  Zeus,  carrying  the  infant  Dion- 
ysos to  the  Nymphs.  Middle  of  the  fourth  century  B.  C. 
Found  lying  near  its  original  pedestal  in  the  ruins  of  the 
Heraion,  at  Olympia,  and  now  in  the  Museum  there. 
Olympia,  HI,  Die  Bildwerke,  Atlas,  pis.  XLIX-LHI. 


100  GREEK  AND  ROMAN  SCULPTURE 

692  HERMES  WITH  THE  INFANT  DIONYSOS.  Relief  copied 
from  the  Hermes  of  Praxiteles.  Roman,  Imperial  period.  Of 
sandstone.  Found  near  Landau,  and  now  in  the  Antiquar- 
ium  at  Mannheim. 

A.  H.  Smith,  Journal  of  Hellenic  Studies,  HI,  1882,  p.  89. 

693  HEAD  OF  EUBOULEUS  (?).  Possibly  an  original  work 
of  Praxiteles.  Found  at  Eleusis,  and  now  in  the  National 
Museum,  Athens,  No.  181. 

Furtwangler,  Masterpieces,  pp.  330!?,  pi.  XVI. 

694  HEAD  OF  EUBOULEUS  (?).  Of  the  same  type  as  No. 
692,  but  of  inferior  execution.  Found  at  Eleusis,  and  now 
in  the  National  Museum,  Athens. 

695  THE  APHRODITE  OF  ARLES.  Roman  copy  of  a 
statue  of  the  fourth  century  B.  C.  Style  of  Praxiteles. 
Found  at  Arles  in  France,  and  now  in  the  Museum  of  the 
Louvre,  No.  439. 

Restorations:  The  tip  of  the  nose,  the  right  arm,  the  left 
forearm,  both  hands,  the  apple,  a large  number  of  pieces 
in  the  drapery,  the  large  toe  of  the  right  foot,  the  back  part 
of  the  plinth. 

Frohner,  Notice  de  la  sculpture  antique  du  Louvre,  No.  137. 

696  THE  APHRODITE  OF  OSTIA.  Roman  copy  of  a statue 
of  the  fourth  century  B.  C.  Style  of  Praxiteles.  Found  at 
Ostia,  and  now  in  the  British  Museum. 

Restorations:  The  tip  of  the  nose,  the  arms,  a piece  of  the 
left  thigh,  some  of  the  toes,  the  drapery  over  the  right  arm. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1574. 

697  APHRODITE  OF  KNIDOS.  Roman  copy  of  the  famous 
statue  of  Aphrodite  by  Praxiteles,  which  was  erected  at 
Knidos,  Asia  Minor.  In  the  Vatican. 

Restorations:  The  neck,  the  left  arm  from  the  bracelet,  the 
left  foot  and  leg  from  a little  below  the  knee,  the  right  foot 
and  ankle,  part  of  the  base  supporting  the  hydria,  the  plinth. 
The  head  is  ancient  (except  the  end  of  the  nose),  but  does 
not  belong  to  the  statue,  though  it  is  from  a copy  of  the  same 
original. 

Helbig,  Guide,  I,  No.  316. 


THE  RUINS  OF  THE  HERAION  AT  OLYMPIA 

THE  MAN  INSIDE  THE  WALLS  STANDS  WHERE  THE  HERMES  OF  PRAXITELES  (nO.  69  1 ) WAS  DISCOVERED 


I 


v.™ 


lOI 


PERIOD  OF  PRAXITELES,  ETC. 

698  APHRODITE  OF  KNIDOS.  Same  type  as  No.  697. 
Formerly  in  the  Palazzo  Braschi,  Rome,  and  now  in  the 
Glyptothek,  Munich. 

Restorations:  The  upper  part  of  the  head,  the  nose,  half 
of  the  right  forearm,  the  greater  part  of  the  left  forearm, 
both  feet,  pieces  of  the  vase  and  the  drapery. 

Furtwangler,  Beschreibung  der  Glyptothek,  No.  258. 

699  HEAD  OF  APHRODITE.  Copy  of  the  head  of  the  Knidian 
Aphrodite  of  Praxiteles.  It  is  said  to  have  been  found  on 
the  site  of  Tralles,  and  is  now  in  the  possession  of  the  heirs 
of  Professor  von  Kaufmann,  Berlin  (died  1908). 

Conze,  Antike  Denkmaler,  I,  pi.  XLI,  p.  30. 

700  APOLLO  SAUROKTONOS.  Roman  copy  of  a statue  by 
Praxiteles.  Found  on  the  Palatine,  Rome,  and  now  in  the 
Vatican. 

Restorations:  A large  fragment  on  the  top  of  the  head,  the 
left  side  of  the  face,  the  right  forearm,  three  fingers  of  the 
left  hand,  the  right  leg  from  the  middle  of  the  thigh,  the  left 
leg  from  the  knee  down,  part  of  the  trunk,  with  the  upper  part 
of  the  lizard,  the  plinth. 

Helbig,  Guide,  I,  No.  194. 

701  APOLLO  SAUROKTONOS.  Small  bronze  statue  of  the 
same  type  as  No.  700.  Found  near  the  church  of  S.  Bal- 
bina,  Rome,  and  now  in  the  Villa  Albani. 

Restorations:  The  tree  and  the  lizard. 

Helbig,  Guide,  II,  No.  749. 

702  SATYR.  Hawthorne’s  Marble  Faun.  Roman  copy  of  a 
statue  of  the  middle  of  the  fourth  century  B.  C.,  prob- 
ably by  Praxiteles.  Found  near  Civita  Lavinia.  In  the 
Capitoline  Museum,  Rome. 

Principal  Restorations:  The  nose,  the  right  forearm, 
most  of  the  left  forearm,  the  right  foot. 

Helbig,  Guide,  I,  p.  525. 

703  TORSO  OF  A SATYR.  Replica  of  the  same  statue  as  No. 
702,  but  of  superior  execution.  Found  on  the  Palatine, 
Rome,  and  now  in  the  Museum  of  the  Louvre,  No.  664. 
Friederichs-Wolters,  No.  1216. 


102  GREEK  AND  ROMAN  SCULPTURE 


704  THE  EROS  OF  THE  VATICAN.  Perhaps  an  adaptation  of 
a statue  by  Praxiteles,  but  dating  probably  not  earlier  than 
the  second  century  B.  C.  Found  at  Centocelle,  near 
Rome,  and  now  in  the  Vatican. 

Restoration:  The  end  of  the  nose. 

Helbig,  Guide,  I,  No.  185. 

705  A-C.  RELIEFS  FROM  MANTINEIA,  representing  the 
contest  of  Apollo  and  Marsyas  in  the  presence  of  the  Muses. 
These  three  reliefs  probably  decorated  the  pedestal  of  a 
group  representing  Leto  with  Apollo  and  Artemis,  which 
was  executed  by  Praxiteles.  The  design  for  the  reliefs 
may  have  been  made  by  Praxiteles,  but  their  execution 
was  probably  left  to  his  assistants.  Found  at  Mantineia, 
Arkadia.  In  the  National  Museum,  Athens,  Nos.  21 5-217. 
The  cracks  in  the  surface  have  been  filled  in  with  plaster; 
otherwise  there  are  no  restorations. 

Svoronos,  Das  aihener  N ationalmuseum,  pis.  XXX  and 
XXXI. 

706  THE  ARTEMIS  OF  GABH.  Roman  copy  of  a statue  of 
the  fourth  century  B.  C.,  perhaps  the  Artemis  Brauronia  of 
Praxiteles.  Found  at  Gabii,  and  now  in  the  Museum  of 
the  Louvre,  No.  529. 

Restorations:  The  nose,  a piece  of  the  left  ear,  the  right 
hand,  the  left  elbow,  the  left  hand,  with  the  corner  of  the 
drapery,  part  of  the  left  leg,  the  left  foot,  part  of  the  right 
foot.  The  head  is  ancient,  but  does  not  belong  to  the 
statue. 

Frohner,  Notice  de  la  sculpture  antique  du  Louvre,  No.  97. 

707  HERMES  FROM  ANDROS.  Hermes  is  here  represented 
in  his  character  of  conductor  of  the  dead  to  Hades,  as  is 
shown  by  the  snake  which  is  coiled  round  the  tree-trunk. 
The  statue  may  have  been  erected  originally  over  a grave, 
since  it  was  found  in  the  neighborhood  of  one,  in  the  island 
of  Andros.  Style  of  the  fourth  century  B.  C.,  and  possibly 
an  original  workof  that  period.  The  type  resembles  that  of 
the  Hermes  of  Praxiteles.  In  the  National  Museum  at 
Athens,  No.  218. 

Restorations:  The  lower  half  of  the  left  leg  to  the  ankle. 
Friederichs-Wolters,  No.  1220. 

708  HERMES  OF  THE  BELVEDERE.  Roman  copy  of  a 
statue  of  the  same  general  type  as  the  Hermes  of  Praxiteles 


PERIODOF  PRAXITELES,  ETC.  IO3 

(No.  691),  and  the  Hermes  of  Andros  (No.  707).  Probably 
found  near  the  Castle  of  S.  Angelo.  In  the  Vatican. 

Helbig,  Guide,  I,  No.  145. 

709  SMALL  HEAD  OF  APHRODITE.  Fourth-century  type. 
Style  of  Praxiteles.  Found  at  Olympia,  and  now  in  the 
Museum  there. 

Olympia,  HI,  Die  B ildwerke,  At\a.s,  pi.  LIV,  i and  2;  Text, 
p.  206. 

710  SATYR,  in  the  act  of  pouring  wine  into  a cup  (?).  Roman 
copy  of  a statue  of  Praxitelean  type.  Said  to  have  been 
found  at  Antium.  In  the  Albertinum,  Dresden. 
Restoration:  The  left  hand.  The  face  has  been  worked 
over. 

Furtwangler,  Masterpieces,  p.  310,  figs.  13 1,  132. 

71 1 THE  '‘APOLLINO.”  Roman  copy  of  a statue  of  the 
fourth  century  B.  C.,  perhaps  of  the  so-called  Apollo  Ly- 
keios  by  Praxiteles,  which  stood  in  a gymnasium  in  Athens. 
Formerly  in  the  Villa  Medici,  Rome,  and  now  in  the  Uffizi 
Gallery,  Florence. 

Restorations:  The  nose,  the  left  hand,  half  of  the  left 
forearm,  the  edge  of  the  base. 

W.  Amelung,  Fiihrer  durch  die  Antiken  in  Floreni,  No.  69. 

712  HEAD  OF  APOLLO.  From  another  copy  of  the  same 
statue.  Found  at  Laurion,  Attica,  and  now  in  the  National 
Museum,  Athens. 

Kavvadias,  Catalogue,  No.  183. 

713  BUST  OF  APOLLO.  From  another  copy  of  the  same 
statue.  Formerly  in  the  Villa  Albani,  and  now  in  the  Brit- 
ish Museum. 

Restorations:  The  nose,  part  of  the  plait,  and  the  bust. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1550. 

714  THE  SO-CALLED  “ILIONEUS.”  Possibly  one  of  the 
children  of  Niobe.  Second  half  of  the  fourth  century  B.  C. 
School  of  Praxiteles.  Found  in  Rome,  and  now  in  the 
Glyptothek,  Munich. 

Furtwangler,  Beschreihung  der  Glyptothek,  No.  270. 


104  GREEK  AND  ROMAN  SCULPTURE 

715  HEAD  OF  APHRODITE.  Fourth  century  type.  For- 
merly in  the  Villa  Borghese,  Rome,  and  now  in  the  Museum 
of  the  Louvre,  No.  203. 

Restorations:  The  nose  and  the  bust. 

Frdhner,  Notice  de  la  sculpture  antique  du  Louvre,  No.  164. 

SCULPTURES  ILLUSTRATING  THE  STYLE  OF  SKOPAS 
(IN  GALLERY  25) 

716-721  FRAGMENTS  OF  SCULPTURES  FROM  THE 
TEMPLE  OF  ATHENA  ALEA  AT  TEGEA,  in  Arkadia. 
According  to  Pausanias,  Skopas  was  the  architect  of  this 
temple,  which  took  the  place  of  an  earlier  building  destroyed 
by  fire  in  395  B.  C.  It  is  therefore  very  probable  that  the 
sculptures  which  decorated  it  were  executed  either  by  Sko- 
pas himself,  or  under  his  supervision. 

FROM  THE  EAST  PEDIMENT  (Contest  of  Telephos  and  Ach- 
illes). 

716  Head  OF  A Youth. 

717  Head  of  a Youth,  Helmeted. 

718  The  Same,  Restored. 

FROM  THE  WEST  PEDIMENT  (Kalydonian  Boar  Hunt). 

719  Head  of  a Boar. 

UNCERTAIN  WHETHER  FROM  THE  EAST  OR  THE  WEST 
PEDIMENT. 

720  Fragment  of  a Right  Leg. 

721  Fragment  of  a Left  Arm. 

In  the  National  Museum,  Athens,  Nos.  178-180. 

Treu,  Antike  Denkmdler,  I,  pi.  35,  p.  21. 

722  MELEAGER  WITH  HIS  DOG.  Roman  copy  of  a statue 
which  was  perhaps  by  Skopas.  First  half  of  the  fourth 
century  B.  C.  Found  in  Rome  (?),  and  now  in  the  Vatican. 
Restorations:  The  end  of  the  nose  of  Meleager,  and  the 
ears  of  the  dog. 

Helbig,  Guide,  I,  No.  133. 


PERIODOF  PRAXITELES,  ETC.  IO5 

723  HERAKLES.  Roman  copy  of  a statue  in  the  style  of 
Skopas.  First  half  of  the  fourth  century  B.  C.  Found  in 
Hadrian’s  Villa,  Tivoli,  and  nowin  Lansdowne  House,  London. 
Restorations:  The  tip  of  the  nose,  parts  of  the  left  forearm 
and  the  club,  a piece  inserted  on  the  right  forearm,  the  right 
thumb,  the  left  leg  between  the  knee  and  ankle. 

Michaelis,  Ancient  Marbles  in  Great  Britain,  p.  45 1,  No.  61. 

724  COLOSSAL  FEMALE  HEAD.  Latter  part  of  the  fourth 
century  B.  C.  Found  at  Priene,  on  the  site  of  the  temple  of 
Athena  Polias,  and  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British  Mu- 
seum, II,  No.  1 15 1. 

725  APOLLO  PLAYING  THE  LYRE.  Probably  a copy  of 
the  statue  by  Skopas  which  was  placed  by  Augustus  in  the 
temple  of  Apollo  on  the  Palatine,  in  commemoration  of  his 
victory  at  Actium.  Found  near  Tivoli,  now  in  the  Vatican. 
Restorations:  The  end  of  the  nose,  the  chin,  the  lips,  the 
right  hand  and  arm  from  above  the  elbow,  the  left  hand 
and  part  of  the  arm,  parts  of  both  feet,  pieces  in  the  drapery 
and  wreath,  and  part  of  the  lyre. 

H el  big.  Guide,  I,  No.  267. 

726  NIOBE  AND  HER  YOUNGEST  DAUGHTER.  Part  of 
a group  in  Florence  representing  the  slaying  of  the  children  of 
Niobe  by  Apollo  and  Artemis.  Pliny  mentions  a group  in 
Rome  of  the  death  of  Niobe’s  children,  about  which  there 
was  doubt  whether  Skopas  or  Praxiteles  made  it.  It  is 
generally  assumed  that  the  Florentine  figures  are  copies 
from  that  group,  though  this  is  by  no  means  certain.  The 
statues  show  some  of  the  characteristics  of  the  style  of 
Skopas.  Found  near  the  Lateran,  Rome,  and  now  in  the 
Ulfizi  Gallery,  Florence. 

Restorations:  On  the  Niobe,  the  nose,  parts  of  the  lips, 
the  left  forearm  with  a piece  of  the  garment,  the  right  hand 
with  half  of  the  forearm;  on  the  daughter,  the  hair,  the 
nose,  the  lower  lip,  the  right  arm,  the  left  hand,  the  left  foot. 
W.  Amelung,  Fiihrer  durch  die  Antiken  in  Floren^,  No.  174. 

727  NIOBID.  Figure  from  the  same  group  as  No.  726. 
Found  near  the  Lateran,  Rome,  and  now  in  the  Uffizi  Gal- 
lery, Florence. 

W.  Amelung,  Fiihrer  durch  die  Antiken  in  Floren^,  No.  184. 


I06  GREEK  AND  ROMAN  SCULPTURE 

728  THE  'XHIARAMONTI”  NIOBID.  Replica  of  a figure 
in  the  group  from  which  Nos.  726,  727  were  copied.  Per- 
haps found  in  Hadrian’s  Villa,  at  Tivoli,  and  now  in  the 
Braccio  Nuovo  of  the  Vatican. 

Helbig,  Guide,  1,  No.  73. 

729  RELIEF  REPRESENTING  THE  DESTRUCTION  OF 
THE  CHILDREN  OF  NIOBE.  Formerly  in  the  Campana 
Collection,  and  now  in  the  Hermitage,  St.  Petersburg. 
Restorations:  On  the  first  boy  from  the  left,  a part  of  the 
left  leg;  on  the  second,  the  left  arm;  on  the  fourth  girl,  the 
left  hand. 

Friederichs-Wolters,  No.  1866. 

730  HEAD  OF  A YOUTH.  Style  of  Skopas.  Fourth  cen- 
tury B.  C.  Unidentified. 

SCULPTURES  ILLUSTRATING  THE  STYLE  OF  LYSIPPOS 

(in  gallery  26) 

731  THE  APOXYOMENOS  (youth  scraping  his  body  with 
a strigil).  Roman  copy  in  marble  of  a bronze  statue  by 
Lysippos.  Second  half  of  the  fourth  century  B.  C.  Found 
in  Trastevere,  Rome,  and  now  in  the  Vatican. 
Restorations:  The  fingers  of  the  right  hand,  the  end  of 
the  left  thumb,  the  strigil,  all  the  toes. 

Helbig,  Guide,  I,  No.  31. 

732  THE  LUDOVISI  ARES.  Roman  copy  of  a statue  of  the 
latter  part  of  the  fourth  century  B.C.,  belonging  probably  to 
the  school  of  Lysippos.  Found  in  Rome,  between  the 
Santa  Croce  and  Campitelli  palaces.  Formerly  in  the 
Ludovisi  Collection,  and  now  in  the  Museo  delle  Terme, 
Rome. 

Restorations:  On  Ares,  the  nose,  the  right  hand,  the  right 
foot,  the  handle  of  the  sword;  on  Eros,  the  head,  the  left 
arm  with  the  quiver,  half  of  the  right  arm,  the  right  foot. 
Helbig,  Guide,  II,  No.  883. 

733  WARRIOR  RESTING.  Fourth-century  type.  Formerly 
in  the  Ludovisi  Collection.  Now  in  the  Museo  delle  Terme, 
Rome.  The  head  is  ancient,  but  does  not  belong  to  the 
statue. 


A CORNER  OF  THE  TEMPLE  OF  ARTEMIS  AT  EPHESOS,  RESTORED 
FROM  THE  BRIllSH  MUSEUM  CATALOGUE,  VOL.  II. 


A 


i 

1 


1 


PERIOD  OF  PRAXITELES,  ETC.  I07 

Restorations:  The  left  forearm,  several  fingers  of  the  right 
hand,  pieces  in  the  chest  and  the  right  hip,  the  left  foot,  the 
right  foot  except  the  heel,  most  of  the  sword,  a large  piece  in 
the  front  part  of  the  plinth. 

Helbig,  Guide,  II,  No.  874. 

734  HERMES  TYING  HIS  SANDAL.  Roman  copy  of  a 
statue  of  the  style  of  Lysippos.  End  of  the  fourth  century 
B.  C.  Found  in  Hadrian’s  Villa,  and  now  in  Lansdowne 
House,  London. 

Restorations:  The  nose,  part  of  the  back  of  the  head, 
a narrow  strip  connecting  the  head  with  the  body,  the  left 
arm  from  the  shoulder  to  the  elbow,  the  left  hand,  the  right 
forearm,  the  right  foot  with  the  sandal,  the  lower  part  of 
the  left  leg  between  the  knee  and  the  ankle,  the  rock,  the 
ploughshare,  the  support,  parts  of  the  chlamys,  and  the 
greater  part  of  the  plinth. 

Michaelis,  Ancient  Marbles  in  Great  Britain,  No.  85,  p.  464. 

735  THE  PRAYING  BOY,  so  called.  Of  bronze.  It  is  doubt- 
ful whether  the  action  of  the  arms  has  been  correctly  re- 
stored, and  hence  the  interpretation  of  the  statue  is  un- 
certain. Fourth  or  third  century  B.  C.,  and  style  of  Ly- 
sippos, though  its  attribution  to  Boedas,the  son  of  Lysippos, 
does  not  rest  upon  sufficient  authority.  In  the  Berlin 
Museum. 

Restorations:  The  eyes,  both  arms  to  the  shoulders, 
several  toes,  the  plinth. 

Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No.  2. 

MISCELLANEOUS  SCULPTURES  OF  THE  PERIOD 
(IN  GALLERIES  25  AND  26) 

736-738 

SCULPTURES  FROM  THE  TEMPLE  OF  ARTEMIS  AT  EPH- 
ESOS,  and  now  in  the  British  Museum.  This  temple,  which 
was  discovered  by  J.  T.  Wood  in  1871-1872,  was  built  shortly  af- 
ter the  year  356  B.  C.,  to  take  the  place  of  an  older  structure, 
which  was  burnt  in  that  year  {cj.  Nos.  372-375).  The  new 
temple  was  erected  on  a magnificent  scale.  It  ranked  among 
the  Seven  Wonders  of  the  ancient  world,  and  is  identical  with  the 
great  temple  of  ‘‘Diana  of  the  Ephesians,"  referred  to  in  the  Acts 
of  the  Apostles,  chapter  XIX.  According  to  Pliny,  it  had  127 


I08  GREEK  AND  ROMAN  SCULPTURE 

columns,  '‘each  made  by  a king,''  of  which  36  were  sculptured, 
one  by  Skopas.  The  reading  in  the  MSS.,  “una  a Scopa"  (one 
by  Skopas),  is  doubtful,  but  it  is  not  impossible  that  Skopas 
was  actually  employed  at  Ephesos. 

736  RELIEF  FROM  A QUADRANGULAR  BLOCK,  perhaps 
the  pedestal  of  a column.  The  subject  represented  is  uncer- 
tain; the  figures  appear  to  be  Herakles  and  a woman. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  II,  No.  1200. 

737  SECTION  OF  A SCULPTURED  DRUM  of  a column. 
The  relief  probably  represents  Hermes  delivering  Alkestis 
to  Thanatos  (Death). 

A.  H.  Smith,  Catalogue,  II,  No.  1206,  pi.  XXIII. 

738  SECTION  OF  AN  IONIC  CAPITAL. 

A.  H.  Smith,  Catalogue,  II,  1224. 

739-744 

SCULPTURES  FROM  THE  MAUSOLEUM  AT  HALIKAR- 
NASSOS,  the  monument  built  to  Mausolos,  prince  of  Caria,  by 
Artemisia  his  wife,  after  his  death  in  351  B.  C.  The  sculptures 
have  been  ascribed  by  Pliny  and  Vitruvius  to  Skopas,  Bryaxis, 
Leochares,  and  Timotheos.  In  the  British  Museum. 

739  COLOSSAL  STATUE  OF  MAUSOLOS. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  II,  No.  1000,  pi.  XVI. 

740  SEVEN  SLABS  FROM  A FRIEZE,  representing  the 
contest  of  the  Greeks  and  Amazons. 

A.  H.  Smith,  Catalogue,  II,  1011-1017. 

741  FIGURE  OF  A CHARIOTEER,  from  a frieze  represent- 
ing a chariot-race. 

A.  H.  Smith,  Catalogue,  II,  No.  1037. 

742  STATUE  OF  A LION. 

A.  H.  Smith,  Catalogue,  II,  p.  129. 

743  TORSO  OF  AN  EQUESTRIAN  FIGURE. 

A.  H.  Smith,  Catalogue,  II,  No.  1045,  pi.  XIX. 


THE  MAUSOLEUM,  RESTORED  BY  W.  B.  DINSMOOR 
FROM  THE  AMERICAN  JOURNAL  OF  ARCIUTOLOG'i’,  I Qo8 


t 


) 


v-if  iw. 

WIlS" 


PERIOD  OF  PRAXITELES,  ETC.  IO9 

744  BEARDED  PORTRAIT-HEAD.  Subject  unknown. 

A.  H.  Smith,  Catalogue,  1 1,  No.  1054,  pi.  XX,  i. 


745  THE  VENUS  OF  MELOS.  Statue  of  Aphrodite,  probably 
of  the  fourth  century  B.  C.,  though  some  authorities 
place  it  in  the  Hellenistic  period.  The  original  motive 
of  the  statue  has  been  the  subject  of  much  contro- 
versy, the  missing  arms  having  been  variously  restored 
in  attitudes  which  would  imply  that  the  goddess  was  {a) 
writing  upon  a shield,  {h)  grouped  with  Ares,  (c)  leaning 
upon  a column.  None  of  these  attempts  meet  all  the  re- 
quirements, and  in  spite  of  years  of  experimentation  the 
problem  has  not  yet  been  solved.  Found  in  the  island  of 
Melos,  and  now  in  the  Museum  of  the  Louvre. 

Principal  Restorations:  The  end  of  the  nose,  part  of  the 
lower  lip,  the  large  toe  of  the  right  foot. 

For  the  history  of  the  statue,  see  Ravaisson,  La  Venus  de 
Milo,  Paris,  1892. 

746  THE  VENUS  OF  CAPUA.  Roman  copy  of  a fourth-cen- 
tury type  of  Aphrodite  {cf.  No.  745).  Found  at  Capua,  and 
now  in  the  Museum  of  Naples. 

Restorations:  The  lower  half  of  the  nose,  both  arms  from 
below  the  shoulders,  part  of  the  drapery. 

Bernoulli,  Aphrodite,  p.  160. 

747  THE  NIKE  (VICTORY)  OF  BRESCIA.  Probably  a Ro- 
man variation  of  a fourth-century  type,  resembling  the 
Venus  of  Melos  (No.  745),  and  the  Venus  of  Capua  (No.  746), 
made  principally  by  the  addition  of  the  wings.  Of  bronze, 
originally  gilt.  Found  near  a temple  built  by  Vespasian, 
in  Brescia,  and  now  in  the  Museo  Patrio  there. 
Restorations:  The  eyes  (on  the  cast  only),  the  helmet, 

, shield,  stylus,  and  plinth. 

Diitschke,  Antike  Bildwerke  in  Oberitalien,  IV,  p.  153. 

748  APHRODITE  ANADYOMENE.  She  is  represented  in 
the  act  of  wringing  the  water  from  her  hair.  End  of  the 
fourth  century  B.  C.  In  the  Vatican. 

Restorations:  Both  arms  and  hands,  the  hair  grasped  by 
the  latter,  part  of  the  left  breast,  fragments  in  the  drapery, 
most  of  the  plinth.  The  head  is  ancient,  but  does  not  be- 
long to  the  statue. 

Helbig,  Guide,  I,  No.  254. 


IIO  GREEK  AND  ROMAN  SCULPTURE 

749  SEATED  STATUE  OF  A DEMETER.  First  half  of  the 
fourth  century  B.  C.  Found  in  the  sanctuary  of  Demeter 
at  Knidos,  Asia  Minor,  and  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  II,  No.  1300,  pi.  XXIV. 

750  SMALL  STATUE  OF  DEMETER.  Fourth-century  type. 
Found  at  Carthage,  and  now  in  the  Musee  du  Bardo,  Tunis. 
Cast  presented  by  Henry  W.  Cannon,  1906. 

G.  Perrot,  Revue  de  V art  ancien  et  moderne,  VI,  pp.  iff. 

751  SO-CALLED  PSYCHE.  Fragment  of  a statue,  probably 
of  the  fourth  century  B.  C.  Found  at  Capua,  and  now  in 
the  Museum  of  Naples. 

Restoration:  The  lower  part  of  the  nose.  The  peculiar 
angular  breaks  are  due  to  the  fact  that  the  surface  of  the 
fractures  was  planed  down;  the  head  was  probably  origin- 
ally composed  of  several  pieces  fitted  together,  otherwise 
it  could  hardly  have  broken  as  it  has. 

Friederichs-Wolters,  No.  1471. 

752  FEMALE  FIGURE  possibly  a Muse  or  Kore.  Type  of  the 
fourth  century  B.  C.  Formerly  in  the  Villa  Mattei,  and  now 
in  the  Galleria  dei  Candelabri  of  the  Vatican. 
Restorations:  The  left  hand,  with  the  ears  of  corn,  and 
both  elbows. 

Helbig,  Guide,  I,  No.  380. 

753  A YOUNG  GODDESS.  Roman  copy  of  a statue  of  the 
fourth  century  B.  C.  Found  at  Cumae,  and  now  in  the 
Hermitage,  St.  Petersburg. 

The  head  is  ancient,  but  does  not  belong  to  the  statue. 
On  the  original  the  arms  are  restored,  holding  torches. 
Stephan i,  Compte-rendu  de  la  commission  archeologique, 
1881,  pp.  I3iflf,  pi.  VI,  I,  2. 

754  STATUE  OF  A MATRON.  Roman  adaptation  of  a fourth- 
century  type.  Found  at  Herculaneum,  and  now  in  the  Alber- 
tinum,  Dresden. 

The  restorations  are  insignificant. 

Furtwangler-Urlichs,  Denkmaler  griechischer  und  romischer 
Skulptur,  No.  55. 


PERIODOF  PRAXITELES,  ETC.  Ill 

755  RAPE  OF  GANYMEDES.  Probably  a Roman  copy  of  a 
bronze  group  executed  by  Leochares,  in  the  fourth  century 
B.C.  In  the  Vatican. 

Restorations:  The  head  and  wings  of  the  eagle;  of 
Ganymedes,  the  nose,  chin,  lower  lip,  neck,  right  forearm 
with  the  stick,  the  left  arm,  the  right  leg  from  the  knee 
down,  the  left  leg  from  the  knee  to  the  ankle;  of  the  dog, 
everything  above  the  paws. 

Helbig,  Guide,  I.  No.  400. 

756  SMALL  BRONZE  STATUE  OF  APOLLO.  Fourth  cen- 
tury type.  In  the  British  Museum. 

H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  987. 

757  STATUE  OF  APOLLO  RESTING.  Fourth  century  type. 
In  the  Museum  of  the  Louvre,  No.  61  ?. 

Restorations:  The  left  hand,  wrist,  and  elbow,  a piece  of 
the  right  knee. 

Overbeck,  Apollon,  p.  216,  No.  26. 

758  STATUE  KNOWN  AS  THE  YOUTH  FROM  SUBIACO. 
Perhaps  one  of  the  children  of  Niobe.  Probably  end  of  the 
fourth  century  B.  C.  Found  in  the  Villa  of  Nero,  Subiaco, 
and  now  in  the  Museo  delle  Terme,  Rome. 

Amelung  und  Holtzinger,  Museums  and  Ruins  of  Rome 
(Eng.  Trans.),  I,  p.  280. 

759  HEADLESS  STATUE  OF  A BOY.  Early  fourth  century 
B.  C.  Found  on  the  Akropolis,  Athens,  and  now  in  the 
British  Museum. 

The  right  ankle  is  restored. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1672. 

760  STATUE  OF  A YOUTH  in  the  act  of  crowning  himself  (?). 
Fourth  century  B.  C.  The  general  type  is  derived  from  the 
original  of  which  No.  61 1 is  a copy.  Found  at  Eleusis,  and 
now  in  the  National  Museum,  Athens,  No.  254. 

’E9Y]^epl<;  ’ 1890,  pis.  10,  ii,  pp.  2o8flf. 

761  HEAD  OF  ZEUS.  Fourth  century  type.  In  the  Hermi- 
tage, St.  Petersburg. 


II2  GREEK  AND  ROMAN  SCULPTURE 

Restorations:  The  nose,  parts  of  the  eyebrows,  the  pupil 
of  the  right  eye,  the  greater  part  of  the  neck,  and  the  bust. 
Compte-rendu  de  la  commission  archeologique  de  St.-Peiers- 
bourg,  1875,  pis.  VI,  VII,  I. 

762  HEAD  OF  ASKLEPIOS  OR  ZEUS.  Original  work  of  the 
fourth  century  B.  C.  Found  in  the  island  of  Melos,  and 
now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  550. 

763  HEAD  OF  HYPNOS,  the  god  of  Sleep.  Fragment  of  a 
bronze  statue.  Found  near  Perugia,  and  no*w  in  the  British 
Museum. 

H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  267. 

764  HEAD  OF  AN  ATHLETE.  Copy  of  a work  of  the  end  of 
the  fourth  century  B.  C.  In  the  Glyptothek,  Munich. 
Restorations:  The  nose,  a piece  of  the  chin,  the  bust. 
Furtwangler,  Beschreibung  der  Glyptothek,  No.  272. 

765  H EAD  OF  ATHENA.  Probably  from  a monument  by  the 
artist  Euboulides,  who  lived  at  the  beginning  of  the  second 
century  B.  C.  The  type  goes  back  to  an  original  of  the 
fourth  century,  B.  C.  Found  in  Athens,  and  now  in  the 
National  Museum  there.  No.  234. 

In  Gallery  23. 

L.  Julius,  Athenische  Mitteilungen,  VII,  1882,  p.  91.  pi.  5. 

766  FEMALE  HEAD,  found  in  the  sanctuary  of  Demeter  at 
Knidos.  In  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  II,  No.  1315. 

767  FEMALE  HEAD.  First  half  of  the  fourth  century  B.  C. 
Probably  found  at  Ostia,  and  now  in  the  Glyptothek, 
Munich. 

Restorations:  Most  of  the  top  and  back  of  the  head,  the 
nose,  chin,  left  half  of  the  lower  jaw,  the  neck  and  the  breast. 
Furtwangler,  Beschreibung  der  Glyptothek,  No.  210. 

768  FEMALE  HEAD,  found  at  Delos,  and  now  in  the  National 
Museum,  Athens,  No.  185. 


PERIODOF  PRAXITELES,  ETC.  II3 

Th.  Homolle,  Bulletin  de  correspondance  hellenique.  III, 
1879,  pi.  XVI,  and  IV,  1880,  p.  38. 

769  HEAD  OF  A MAIDEN,  possibly  Hygieia.  Attic.  In  the 
National  Museum,  Athens,  No.  191. 

F.  Koepp,  Athenische  M itteilungen,  X,  1885,  p.  255,  pi.  9. 

770  FEMALE  BUST,  called '‘the  Oxford  Bust.”  Type  of  the 
fourth  century  B.  C.  From  the  Arundel  Collection;  now 
in  the  Ashmolean  Museum,  Oxford. 

Michaelis,  Ancient  Marbles  in  Great  Britain,  p.  555,  No.  59. 

771  RELIEF  OVER  AN  INSCRIPTION,  recording  a treaty, 
probably  between  Athens  and  Kios  in  Bithynia  (377  B.  C.). 
Athena  is  represented  clasping  the  hand  of  “ Kios.”  Found 
near  the  Propylaia,  and  now  in  the  Akropolis  Museum, 
Athens. 

In  Gallery  23. 

Schone,  Griechische  Reliefs,  pis.  9,  53,  p.  27. 

772  RELIEF  FROM  THE  HEADING  OF  A DECREE  between 
Athens  and  Kerkyra  (375  B.  C.).  At  the  left,  seated  on  a 
rock,  is  the  Demos,  or  People,  of  Athens,  facing  whom  stands 
a personification  of  the  island  of  Kerkyra, while  at  the  right 
Athena  watches  the  agreement  which  is  made  between  the 
two.  Found  on  the  southern  slope  of  the  Akropolis  of 
Athens,  and  now  in  the  Akropolis  Museum. 

In  Gallery  23. 

A.  Dumont,  Bulletin  de  correspondance  hellenique,  II,  1878, 
p.  559,  pi.  XH. 

773  RELIEF  IN  IMITATION  OF  ORIENTAL  STYLE. 
Above,  a man  in  oriental  costume  between  winged  and 
horned  lions;  below,  a lion  devouring  a deer.  Probably 
fourth  century  B.  C.  Said  to  have  been  found  on  the  hill 

, of  the  Mouseion,  and  now  in  the  National  Museum,  Athens. 
Perrot,  Bulletin  de  correspondance  hellenique,  V,  1881,  p.  19, 
pl.I. 

PORTRAITS  OF  THE  PERIOD 
(IN  GALLERY  26) 

774  STATUE  OF  AISCHINES.  Roman  copy  of  a work  of  the 
fourth  century  B.  C.  Found  at  Herculaneum,  and  now  in 
the  Museum  of  Naples. 


I 14  GREEK  AND  ROMAN  SCULPTURE 

Restorations:  The  end  of  the  nose,  the  fingers  of  the  right 
hand,  pieces  in  the  drapery. 

Friederichs-Wolters,  No.  1316. 

775  STATUE  OF  SOPHOKLES.  Perhaps  a copy  of  the 
bronze  statue  made  for  the  Dionysiac  theatre  at  Athens, 
between  350  and  330  B.  C.  Found  at  Terracina,  and  now 
in  the  Lateran  Museum,  Rome. 

Restorations:  The  nose,  small  bits  in  the  hair,  beard  and 
face,  the  right  hand,  both  feet  with  the  base,  the  lower  part 
of  the  garment  behind,  the  scrinium. 

Flelbig,  Guide,  I,  No.  662. 

776  BUST  OF  SOPHOKLES  (?).  Fourth-century  type.  Dis- 
covered near  Genzano,  in  the  neighborhood  of  Rome,  and 
now  in  the  British  Museum. 

Restoration:  The  tip  of  the  nose. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1832,  pi.  XII. 

777  BUST  OF  EURIPIDES.  In  the  Vatican  (Hall  of  the 
Muses). 

Only  the  face,  from  the  forehead  to  the  upper  lip,  is  ancient. 
Bernoulli,  Griechische  Ikonographie,  I,  p.  152,  No.  9. 

778  DOUBLE  HERMA  OF  HERODOTOS  AND  THUCY- 
DIDES. Place  of  discovery  unknown.  Formerly  in  the 
Farnese  Collection,  now  in  the  Museum  of  Naples. 
Friederichs-Wolters,  No.  485. 

779  BUST  OF  PLATO.  Roman  copy  of  a work  which  prob- 
ably dated  from  the  fourth  century  B.  C.  This  is  the  only 
extant  portrait  of  the  philosopher  which  is  identified  by  an 
inscription.  Formerly  in  the  collection  of  Alessandro 
Castellani,  and  now  in  the  Berlin  Museum,  No.  300. 

Helbig,  Jahrbuch  des  archdologischen  Instituts,  1886,  pp.  7 iff, 
pi.  6,  I. 

780  BUST  OF  PLATO.  Roman  copy,  probably  of  a work 
of  the  beginning  of  the  fourth  century  B.  C.  In  the  Vatican. 
The  nose  is  restored. 

Helbig,  Guide,  i,  No.  265. 


PERIODOF  PRAXITELES,  ETC.  II5 

781  HEAD  OF  SAPPHO.  Type  of  the  fourth  century  B.  C., 
or  later.  In  the  Villa  Albani,  Rome. 

Restorations:  The  end  of  the  nose,  the  lower  part  of  the 
neck,  the  herma. 

Helbig,  Guide,  II,  No.  789. 


HELLENISTIC  PERIOD 

FROM  THE  DEATH  OF  ALEXANDER  (323  B.  C.)  TO  THE 
FALL  OF  EGYPT  (30  B.  C.) 

HN  GALLERIES  27-29) 

WE  have  seen  in  the  preceding  periods  how  directly 
the  art  of  each  epoch  is  influenced  by  political 
events.  The  thoughts  and  tendencies  of  every 
age  are  mirrored  in  its  artistic  productions ; and 
therefore,  to  understand  the  latter  we  must  bear  in  mind  con- 
temporary history,  just  as  to  appreciate  history  fully  we  must  go  to 
art  to  supply  us  with  vivid  illustrations.  The  conquest  of  Greece 
by  Philip  of  Macedon  has  already  been  alluded  to,  but  the  loss  of 
independence  of  the  several  Greek  states  was  relatively  unim- 
portant as  compared  with  the  Oriental  campaigns  of  Alexander 
the  Great,  in  which  he  conquered  the  East,  and  threw  its  gates 
open  to  Greek  civilization.  Hence  we  find  that  after  the  death  of 
Alexander,  the  centre  of  gravity  has  been  pushed  from  the  main- 
land of  Greece  eastward  to  Asia  Minor.  Athens  and  other  cities 
of  Greece  still  produce  artists -of  minor  importance,  but  the  best 
work  of  the  period  comes  from  the  vigorous  offshoots  of  Asia  Minor 
and  Egypt:  Pergamon,  Ephesos,  Tralles,  Rhodes,  and  Alexandria. 

The  ideals  of  the  Hellenistic  Age — so  called  in  distinction  to  the 
true  Hellenic — are,  as  we  should  expect,  totally  different  from  both 
those  of  the  fifth  century  and  those  of  the  fourth.  It  is  neither 
idealism  nor  beauty  that  now  forms  the  chief  aim  of  the  sculptor: 
he  has  become  a man  of  science,  as  well  as  an  artist.  Anatomy 
interested  him  for  its  own  sake,  and  the  faithful  representation  of 
what  earlier  artists  would  have  regarded  as  unimportant  details 
of  nature  has  to  some  extent  replaced  the  desire  to  create  pure 
beauty.  This  is  shown  not  only  in  the  treatment  and  execution, 
but  also  in  the  choice  of  subjects.  We  need  only  compare  the 
" Barberini  EauiG’  (No.  830)  or  the  Seated  Boxer  (No.  842) 
with  the  sculptures  of  the  Parthenon  fully  to  appreciate  this  dif- 


HELLENISTIC  PERIOD 


II7 

ference.  Moreover,  we  often  find  a love  of  display  which  was 
foreign  to  the  art  of  the  preceding  ages.  However,  though  in  con- 
ception Hellenistic  works  do  not  reach  the  former  high  standard, 
they  often  exhibit  extraordinary  vigor  of  treatment,  thorough 
understanding  of  the  human  figure,  and  consummate  skill  in  exe- 
cution. In  its  spirit  Hellenistic  art  is  independent.  Though  it 
sometimes  borrows  types  from  earlier  sculptures,  it  transforms 
them  so  completely  as  to  make  them  its  own.  The  marvellous 
fertility  of  invention  shown  in  the  Altar  of  Pergamon  is  evidence 
enough  of  the  spontaneity  of  artistic  imagination  during  this 
period. 


SCULPTURES  OF  THE  SCHOOL  OF  PERGAMON 
(IN  GALLERY  28) 

782  THE  DYING  GAUL, formerly  called  The  DyingGladiator. 
Probably  a contemporary  copy  of  a bronze  statue  dedicated 
by  Attalos  I,  king  of  Pergamon  (241-197  B.  C.),  on  the 
Akropolis  of  Pergamon,  in  commemoration  of  his  victory 
over  the  Mysian  Gauls.  Found  in  Rome,  and  now  in  the 
Museum  of  the  Capitol. 

Restorations:  The  end  of  the  nose,  the  right  hand,  part 
of  the  left  knee,  the  toes,  and  part  of  the  plinth,  including 
the  sword  and  a portion  of  the  horn. 

Helbig,  Guide,  I,  No.  533. 

783  GAUL  AND  HIS  WIFE.  Like  No.  782,  probably  a con- 
temporary copy  of  a bronze  group  erected  by  Attalos  I 
of  Pergamon,  in  commemoration  of  his  victory  over  the 
Mysian  Gauls.  Place  of  discovery  unknown.  Formerly  in 
the  Ludovisi  Collection,  and  now  in  the  Museo  delle  Terme, 
Rome. 

Restorations:  Of  the  man,  most  of  the  right  arm,  with  part 
of  the  sword,  the  lower  half  of  the  nose,  the  left  forearm  and 
forefinger,  part  of  the  cloak;  of  the  woman,  the  nose,  the 
left  arm  from  above  the  elbow,  the  right  hand  and  wrist,  four 
toes  of  the  right  foot,  and  a piece  of  the  garment;  also  the 
supports  between  the  two  figures. 

Helbig,  Guide,  I,  No.  884. 

784-790 

FIGURES  FROM  THE  GROUPS  OF  STATUES  DEDICATED 
BY  ATTALOS  I,  king  of  Pergamon  (241-197  B.  C.j,  on  the  Akro- 
polis of  Athens,  in  commemoration  of  his  victories  over  the  Gauls. 


Il8  GREEK  AND  ROMAN  SCULPTURE 


The  four  groups  of  which  these  figures  formed  part,  or  are  at 
least  contemporary  copies,  date  from  about  200  B.  C.,  and  repre- 
sent respectively: 

The  Battle  of  the  Gods  and  Giants. 

The  Battle  of  the  Greeks  and  Amazons. 

The  Battle  of  the  Greeks  and  Persians  at  Marathon. 
The  Battle  of  Attalos  and  the  Gauls. 

Baumeister,  Denkmdler,  II,  pp.  1241-1248. 

784  DYING  GAUL.  The  pose  is  like  that  of  the  famous  statue 
(No.  782),  reversed.  Found  in  Rome.  Formerly  in  the 
Farnese  Collection,  Rome,  and  now  in  the  Museum  of 
Naples. 

Restorations:  The  left  arm,  some  fingers  of  the  right  hand, 
the  right  foot,  the  toes  of  the  left  foot.  The  head  is  ancient, 
but  perhaps  does  not  belong  to  the  figure. 

785  ELDERLY  GAUL,  fallen  on  one  knee,  defending  himself 
with  his  sword.  Eound  in  Rome,  and  now  in  the  Museum 
of  the  Marciana,  Venice. 

Restorations:  The  right  arm  and  some  of  the  toes  of  the 
left  foot. 

786  YOUNG  GAUL,  kneeling,  wounded  in  his  right  thigh. 
In  the  Louvre,  Paris. 

Both  arms  are  restored. 

787  DEAD  PERSIAN.  Found  in  Rome.  Formerly  in  the 
F'arnese  Collection,  Rome,  and  now  in  the  Museum  of 
Naples. 

Restorations:  Both  arms,  the  right  leg  from  the  knee 
down,  part  of  the  scimitar. 

788  YOUNG  PERSIAN,  kneeling  and  warding  off  a blow 
with  his  right  arm.  In  the  Vatican. 

Restorations:  The  nose,  both  arms,  the  right  leg  from  the 
knee  down,  half  of  the  left  foot,  the  upper  part  of  the  cap, 
the  plinth. 

789  PERSIAN,  kneeling  and  defending  himself  with  his  shield. 
At  Aix  in  Southern  France. 

790  DEAD  AMAZON.  Eound  in  Rome.  Formerly  in  the 
Farnese  Collection,  Rome,  and  now  in  the  Museum  of 
Naples. 

The  left  foot  is  restored. 


HELLENISTICPERIOD  II9 

791-802 

REMEFS  FROM  THE  GREAT  ALTAR  ON  THE  CITADEL 
OF  PERGAMON,  built  probably  by  King  Eumenes  II,  197-159 
B.  C.,  and  dedicated  to  Zeus  and  Athena.  The  remains  of  this 
altar  were  discovered  1879-1880,  during  the  excavations  conduct- 
ed by  the  German  government,  under  the  direction  of  Karl 
Humann.  It  consisted  of  a large  base  or  platform,  about  16 
feet  high,  123  feet  7 inches  long,  and  113  feet  6 inches  broad,  on 
which  stood  the  altar  proper,  surrounded  by  an  Ionic  colonnade. 
One  side  of  the  platform  was  pierced  by  the  staircase  by  which 
the  altar  was  approached;  its  walls  were  encircled  by  a frieze 
about  7 feet  6 inches  wide,  representing  the  Battle  of  the  Gods 
and  Giants.  Originally  this  must  have  been  nearly  400  feet  long. 
Over  300  feet  of  it  were  recovered  by  the  Germans,  and  a res- 
toration of  the  structure,  with  these  reliefs  in  place,  has  been 
made  in  the  Pergamon  Museum  at  Berlin.  The  selection  in  our 
collection  includes  the  following; 

791-801  SLABS  FROM  THE  LARGE  FRIEZE  which  en- 
circled the  walls  of  the  substructure  of  the  altar,  repre- 
senting the  Battle  of  the  Gods  and  Giants. 

From  the  West  Side  : 

791  THE  SEA  DEITIES,  Nereus,  Doris,  Okeanos,  and  Tethys? 
in  contest  with  giants. 

792  WINGED  GIANT,  inscribed  Bpo 

Slabs  Nos.  791,  792  are  cut  into  by  the  steps  of  the  broad 
staircase  which  led  up  to  the  great  platform  on  which  stood 
the  altar. 

793  DIONYSOS  WITH  TWO  SATYRS. 

From  the  South  Side  : 

794  KYBELE  riding  a lion,  and  Adrasteia? 

795  EOS,  the  goddess  of  Dawn,  riding  a horse  (or  mule). 
From  the  East  Side  ; 

796  THE  GIANT  KLYTIOS.  Only  the  upper  part  is  pre- 
served. 

797  "THE  GIANT  AIGAION  bitten  by  the  dog  of  Artemis. 
Only  the  upper  part  of  the  giant  is  preserved. 


120  GREEK  AND  ROMAN  SCULPTURE 


798  APOLLO. 

799  ZEUS  in  contest  with  three  giants. 

800  ATHENA  seizing  the  giant  Alkyoneus;  Gaia  interceding 
for  her  son. 

From  the  North  Side  : 

801  NYX,  the  goddess  of  Night,  in  contest  with  a giant. 

802  SLAB  FROM  THE  SMALLER  FRIEZE,  which  deco- 
rated the  inner  face  of  the  wall  of  the  colonnade  on  the  plat- 
form of  the  altar.  On  this  frieze  were  represented  scenes 
from  the  life  of  Telephos,  the  legendary  founder  of  Per- 
gamon.  The  subject  of  the  slab  shown  here  is  Herakles 
finding  the  infant  Telephos  under  a plane  tree,  suckled  by 
a hind. 

Berlin  Museum,  Beschreihung  der  Skulpiuren  aus  Pergamon, 
I,  Die  Gigantomachie. 

803  FEMALE  HEAD.  Found  among  the  ruins  of  the  Great 
Altar  at  Pergamon,  and  now  in  the  Pergamon  Museum  in 
Berlin. 

Pontremoli  et  Collignon,  Pergame,  p.  204. 

804  HERMAPHRODITE.  Found  at  Pergamon,  and  now 
in  the  Imperial  Museum,  Constantinople. 

Pontremoli  et  Collignon,  Pergame,  p.  205. 

805  WARRIOR  FROM  DELOS.  This  statue  evidently  formed 
part  of  a group,  and  represented  a fallen  warrior  defend- 
ing himself  against  an  enemy.  Near  it  was  found  a pedestal 
large  enough  to  accommodate  such  a group,  inscribed  with 
the  name  of  Nikeratos  as  the  sculptor.  If,  as  is  probable, 
the  two  belonged  together,  the  statue  would  be  a work  of 
the  school  of  Pergamon  in  the  time  of  Eumenes  II  (197- 159 
B.  C.),  to  which  the  inscription  shows  Nikeratos  to  have 
belonged.  Found  in  Delos  in  1882,  during  the  excavations 
of  the  French  School.  In  the  National  Museum,  Athens, 
No.  247. 

P.  Wolters,  Aihenische  Miiieilungen,  XV,  1890,  pp.  i88ff. 

806  HEAD  OF  A GIANT,  formerly  called  the  Dying  Alex- 
ander. Probably  second  century  B.  C.  In  the  Uffizi 
Gallery,  Florence. 


THE  GREAT  ALTAR  AT  PERGAMON,  RESTORED  BY  F.  THIERSCH 
FROM  THE  PAINTING  IN  THE  PERGAMON  MUSEUM,  BERLIN 


X 


n 


m - 

s~ 


H E L L E N I S T I C P E R I O D I2I 

Restorations:  The  bust,  the  top  and  back  of  the  head,  the 
lower  part  of  the  nose. 

W.  Amelung,  Fiihrer  durch  die  Aniiken  in  Floren^,  No.  151. 

807  HEAD  OF  A DYING  PERSIAN.  Pergamene  type. 
Found  on  the  Palatine,  and  now  in  the  Museo  delle  Terme, 
Rome. 

Helbig,  Guide,  II,  No.  1025. 

808  MALE  HEAD.  Roman  copy  from  a Pergamene  original. 
Found  in  Hadrian’s  Villa,  Tivoli,  and  now  in  the  British 
Museum. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  i860. 


MISCELLANEOUS  SCULPTURES  OF  THE  PERIOD 
EXCLUDING  PORTRAITS 

GROUPS  AND  STATUES 

809  THE  NIKE  OF  SAMOTHRAKE,  a statue  of  the  goddess 
of  Victory  on  the  prow  of  a ship.  (In  Hall  38).  It  was 
erected  as  a votive  offering  to  commemorate  a naval  vic- 
tory, probably  that  of  Demetrios  Poliorketes,  king  of  Mace- 
donia, over  Ptolemy  I of  Egypt,  off  Cyprus,  in  306  B.  C. 
Found  in  the  island  of  Samothrake,  and  now  in  the  Museum 
of  the  Louvre,  No.  2369. 

No  restorations,  except  the  pieces  by  which  the  fragments 
of  the  wings  are  joined. 

Conze,  Hauser,  und  Benndorf,  Untersuchungen  auj  Sarno- 
thrake,  II,  pi.  LX IV. 

i 

810  STATUE  OF  THEMIS,  the  Goddess  of  Justice.  First 
half  of  the  third  century  B.  C.  On  the  base  is  inscribed  the 
name  of  the  sculptor  Chairestratos,  the  son  of  Chairedemos, 
of  Rhamnus.  Found  in  the  temple  of  Themis  at  Rhamnus, 
and  now  in  the  National  Museum,  Athens,  No.  231. 
Collignon,  Histoire,  II,  p.  461. 

81  I POSEIDON.  Probably  third  century  B.  C.  Found  in 
the  island  of  Melos,  and  now  in  the  National  Museum, 
Athens,  No.  235. 


122  GREEK  AND  ROMAN  SCULPTURE 


Restorations:  The  nose,  the  left  upper  part  of  the  head, 
part  of  the  mantle,  and  the  trident. 

Collignon,  Histoire,  II,  p.  481. 

812  TORSO  OF  A TRITON.  Roman  copy  of  a statue  of  the 
Hellenistic  period.  Found  at  Tivoli,  and  now  in  the  Vatican. 
Restorations:  The  point  of  the  nose,  parts  of  the  ears 
and  hair,  and  nearly  all  the  body  below  the  navel. 

Helbig,  Guide,  I,  No.  187. 

813  THE  APOLLO  OF  THE  BELVEDERE.  Probably  a 
Roman  copy  of  a statue  of  the  third  century  B.  C.  Said  to 
have  been  found  at  Antium.  In  the  Belvedere  of  the  Vat- 
ican. 

Restorations:  The  left  hand,  the  right  forearm  and  hand, 
the  upper  parts  of  the  tree  and  the  quiver,  small  pieces  in 
the  drapery  and  legs. 

Helbig,  Guide,  I,  No.  160. 

814  THE  ARTEMIS  OF  VERSAILLES.  Probably  a Roman 
copy  of  a statue  of  the  third  century  B.  C.  Formerly  at 
Versailles,  and  now  in  the  Museum  of  the  Louvre,  No.  589. 
Restorations:  The  nose,  both  ears,  a piece  of  the  neck, 
the  right  hand  and  half  the  forearm,  the  left  hand  and  arm 
as  far  as  the  deltoid,  the  end  of  the  large  toe  of  the  left  foot, 
the  right  foot  and  upper  part  of  the  leg,  the  two  ends  of  the 
quiver.  Of  the  hind,  the  nostrils,  the  ears,  the  horns  (ex- 
cept their  base),  the  greater  part  of  the  legs. 

Collignon,  Histoire,  II,  p.  320. 

815  UPPER  PART  OF  A STATUE  OF  ASKLEPIOS.  Found 
in  the  Peiraieus,  and  now  in  the  National  Museum,  Athens. 
Kavvadias,  Catalogue,  No.  258. 

816  APHRODITE  CROUCHING  IN  THE  BATH.  Perhaps 
a Roman  copy  of  a statue  by  Daidalos  of  Bithynia,  of  the 
third  century  B.  C.  Found  at  Vienne,  France,  and  now  in 
the  Museum  of  the  Louvre,  No.  2240. 

Rayet,  Monuments  de  V art  antique,  pi.  53. 

817  APHRODITE  CROUCHING  IN  THE  BATH.  Same 
type  as  No.  816.  Found  in  the  neighborhood  of  Tivoli, 
and  now  in  the  Vatican. 


HELLENISTIC  PERIOD 


123 

Restorations:  The  hair,  the  right  hand,  the  fingers  of 
the  left  hand,  the  front  half  of  the  right  foot,  two  toes  of  the 
left  foot. 

Helbig,  Guide,  I,  No.  252. 

818  THE  VENUS  OF  THE  CAPITOL.  Late  Greek  or  Roman. 
Found  between  the  Viminal  and  Quirinal  hills,  Rome,  and 
now  in  the  Museum  of  the  Capitol. 

Restorations:  The  tip  of  the  nose,  the  forefinger  and  part 
of  the  thumb  of  the  left  hand,  the  fingers  of  the  right  hand. 
Helbig,  Guide,  I,  No.  458. 

819  TORSO  OF  APHRODITE.  Said  to  have  been  found  at 
Antium.  In  the  British  Museum. 

The  left  thigh  is  restored. 

A.  H.  Smith,  Gatalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1583. 

820  GROUP  OF  THE  THREE  GRACES.  Roman  copy  of  a 
composition  created  probably  in  the  Hellenistic  period. 
Found  on  the  Quirinal  in  Rome,  and  now  in  the  Opera  del 
Duomo,  Siena. 

Brunn-Bruckmann,  Denkmdler  der  griechischen  und  rd- 
mischen  Skulptur,  No.  259. 

821  824  THE  LYKOSOURA  FRAGMENTS.  Fragments  of 
colossal  statues  from  the  temple  of  Despoina  (Persephone)  at 
Lykosoura,  in  Arkadia,  and  now  in  the  National  Museum, 
Athens. 

821  Head  OF  Demeter. 

822  Head  of  Artemis. 

823  Head  of  Amytos. 

824  Fragment  of  Drapery  with  decorative  designs 
in  relief. 

Damophon  of  Messene  is  named  by  Pausanias  as  the 
sculptor  of  these  statues.  Their  date  has  long  been  a 
matter  of  dispute,  the  fourth  century  B.  C.,  the  second 
century  B.  C.,  and  the  time  of  Hadrian  having  all  been 
suggested  by  different  authorities;  of  these  dates  the 
second  century  B.  C.  is  the  most  probable. 

Frazer’s  Pausanias,  V,  pp.  622ff. 


124  GREEK  AND  ROMAN  SCULPTURE 

825  EROS  STRETCHING  A BOW.  Roman  copy  of  a statue, 
probably  of  the  end  of  the  fourth  century  B.  C.  Eormerly 
in  the  Villa  d'Este  at  Tivoli,  and  now  in  the  Museum  of  the 
Capitol,  Rome. 

Restorations:  Both  arms  with  the  bow,  the  wings,  the 
lower  half  of  the  legs,  the  tree-trunk. 

Helbig,  Guide,  1,  No.  429. 

826  EROS  AND  A DOLPHIN.  Ornament  of  a fountain. 
The  place  of  discovery  is  not  known.  Formerly  in  the  Far- 
nese  Collection,  and  now  in  the  Museum  of  Naples. 
Restorations:  Of  Eros,  the  head,  the  feet  and  the  fingers 
of  the  left  hand;  of  the  dolphin,  the  tail. 

Friederichs-Wolters,  No.  1581. 

827  DIONYSOS.  Third  century  B.  C.  Found  at  Sikyon.  In 
the  National  Museum,  Athens. 

Kavvadias,  Catalogue,  No.  256. 

828  DANCING  MAENAD.  End  of  the  fourth  century  B.  C. 
The  place  of  discovery  is  unknown.  Now  in  the  Berlin 
Museum. 

Restorations:  The  left  foot,  a piece  of  the  left  shoulder, 
the  front  part  of  the  plinth. 

Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No. 
208. 

829  SILENOS  AND  THE  INFANT  DIONYSOS.  Roman 
copy  of  a statue  of  the  end  of  the  fourth  century  B.  C. 
Found  near  the  gardens  of  Sallust,  Rome,  and  now  in  the 
Museum  of  the  Louvre,  No.  922. 

Restorations:  Of  the  Silenos,  the  end  of  the  nose,  parts 
of  the  hair,  both  hands,  three  toes  of  the  right  foot;  of  the 
Dionysos,  the  nose,  chin,  arms  and  legs;  also  pieces  of  the 
nebris,  part  of  the  tree-trunk,  the  back  of  the  base,  with  the 
plant. 

Friederichs-Wolters,  No.  1430. 

830  SLEEPING  Satyr.  The  so-called  Barberini  Faun. 
Probably  third  century  B.  C.  Found  in  the  moat  of  the 
Castle  of  S.  Angelo,  Rome,  and  now  in  the  Glyptothek, 
Munich. 

Restorations:  The  end  of  the  nose,  the  left  forearm,  the 


HELLENISTICPERIOD  1 25 

right  elbow,  the  fingers  of  the  right  hand,  the  right  leg,  part 
of  the  left  leg,  part  of  the  animal's  skin  and  the  back  of  the 
seat. 

Furtwangler,  Beschreihung  der  Glyptothek,  No.  218. 

831  THE  BORGHESE  SATYR.  Found  at  Monte  Calvo,  in 
the  Sabine  country.  Formerly  in  the  Villa  Borghese, 
and  now  in  the  Museo  delle  Terme,  Rome. 

Restorations:  Both  arms,  a part  of  the  left  thigh,  the 
greater  part  of  the  animal’s  skin  and  of  the  tree-trunk. 
Friederichs-Wolters,  No.  1427. 

832  SATYR  PLAYING  THE  SCABELLUM.  The  place  of 
discovery  is  unknown.  In  the  Lfffizi  Gallery,  Florence. 
Restorations:  The  greater  part  of  the  head,  both  arms,  the 
left  heel,  the  toes  of  the  right  foot,  the  tail  (?). 

W.  Amelung,  Fiihrer  durch  die  Antiken  in  Floreni,  No.  64. 

833  THE  SO-CALLED  “ARROTINO”  or  knife-sharpener. 
Originally  part  of  a group  representing  the  flaying  of  Marsyas. 
Probably  second  century  B.  C.  Found  in  Rome,  and  now 
in  the  Uffizi  Gallery,  Florence. 

Restorations:  The  end  of  the  nose,  the  right  edge  of  the 
mantle,  the  right  wrist,  the  forefinger  of  the  right  hand,  with 
the  handle  and  part  of  the  knife,  the  thumb,  the  forefinger 
and  middle  finger  of  the  left  hand,  pieces  on  the  edge  of  the 
base. 

W.  Amelung,  Fiihrer  durch  die  Antiken  in  Floreni,  No.  68. 

834  torso  of  a statue  of  marsyas  bound  to  a tree. 
Roman  copy  of  a statue  of  the  third  or  second  century  B.  C. 
Found  on  the  Palatine,  Rome,  and  now  in  the  Berlin  Museum. 
Berlin  Museum,  Beschreihung  der  antiken  Skulpturen,  No.  213. 

835  SATYR  AND  GOAT,  group  in  rosso  antico.  Hellenistic 
type.  Found  in  Hadrian's  Villa,  near  Tivoli,  and  now  in 
the  Museum  of  the  Capitol,  Rome. 

Restorations:  Of  the  satyr,  the  tip  of  the  nose,  the  end 
of  the  chin,  the  right  arm,  with  the  bunch  of  grapes,  the  left 
hand,  both  legs  except  part  of  the  feet,  the  staff,  the  stump, 
the  syrinx;  the  head,  the  hind  legs  and  the  left  fore  leg  of 
the  goat,  parts  of  the  plinth. 

Helbig,  Guide,  I,  No.  520. 


126  GREEK  AND  ROMAN  SCULPTURE 

836  SLEEPING  ARIADNE.  Probably  a Roman  copy  of  a 
statue  of  the  Hellenistic  period.  The  place  of  discovery 
is  not  known.  Now  in  the  Vatican. 

Restorations:  The  nose,  the  upper  lip,  some  fingers  of 
the  left  hand,  the  right  hand,  parts  of  the  drapery. 

Helbig,  Guide,  I,  No.  214. 

837  SLEEPING  ARIADNE.  Probably  a Roman  copy  of  a 
statue  of  the  Hellenistic  period.  Same  type  as  No.  836. 
Formerly  in  the  Museo  Odescalchi,  Rome,  and  now  in  the 
Museum  of  Madrid. 

Restorations:  The  forehead,  nose,  mouth  and  chin,  pieces 
from  both  arms,  both  knees  and  the  left  foot. 

Temporarily  retired  for  lack  of  space. 

Friederichs-Wolters,  No.  1573. 

838  ANTIOCHEIA,  patron  goddess  of  the  city  of  Antioch, 
which  was  founded  in  300  B.  C.  She  is  seated  on  a rock, 
and  rests  one  foot  on  the  river  Orontes.  Copy  of  a bronze 
group  by  Eutychides,  a pupil  of  Lysippos.  Found  outside 
the  Porta  S.  Giovanni,  Rome,  and  now  in  the  Vatican. 
Restorations:  Of  the  goddess,  the  mural  diadem,  parts 
of  the  drapery,  the  nose,  upper  lip,  and  right  forearm.  The 
head  was  broken,  but  probably  belongs  to  the  figure.  Of 
the  river-god,  both  arms. 

Helbig,  Guide,  I,  No.  376. 

839  SMALL  BRONZE  FIGURE  OF  HERAKLES  resting. 
From  a villa  near  Boscoreale.  In  private  possession. 
Unpublished. 

840  HERAKLES  WITH  THE  APPLES  OF  THE  HESPER- 
IDES.  Roman  copy  of  a Hellenistic  type.  Small  bronze 
statue.  Found  at  Gebail,  the  ancient  Byblos,  in  Phoenicia. 
In  the  British  Museum. 

On  the  original  the  tree  stands  behind  the  figure,  with  bran- 
ches and  fruit,  and  around  it  is  coiled  the  serpent  Herak- 
les  has  slain. 

H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  827. 

841  THE  TORSO  OF  THE  BELVEDERE.  Fragmentary 
statue  of  Herakles,  inscribed  with  the  name  of  the  sculptor 
Apollonios,  son  of  Nestor,  of  Athens  (first  century  B.  C.). 


HELLENISTIC  PERIOD  \2*] 

According  to  some  authorities  the  lost  original  of  which  this 
work  is  a copy,  dates  as  far  back  as  the  fifth  century  B.  C. 
It  is  more  generally  placed  in  the  Hellenistic  period.  The 
place  where  the  torso  was  discovered  is  not  known.  It  is 
now  in  the  Belvedere  of  the  Vatican. 

Helbig,  Guide,  I,  No.  126. 

842  BOXER  RESTING.  Bronze  statue  found  under  the  Col- 
onna  gardens,  Rome,  among  the  foundations  of  Aurelian’s 
Temple  of  the  Sun.  Now  in  the  Museo  delle  Terme,  Rome. 
Restorations:  The  end  of  the  left  thumb,  a piece  in  the 
right  thigh,  the  seat. 

Helbig,  Guide,  II,  No.  1051. 

843  THE  LAOKOON  GROUP.  Probably  identical  with  a 
group  mentioned  by  Pliny  as  standing  in  the  palace  of 
Titus  on  the  Esquiline,  the  work  of  the  Rhodian  sculptors 
Agesander,  Polydoros,  and  Athenodoros.  Probably  second 
century  B.  C.  Found  among  the  ruins  of  the  palace  of 
Titus  on  the  Esquiline,  Rome,  and  now  in  the  Vatican. 
Restorations:  The  right  arm  of  the  father,  with  the  ad- 
joining portion  of  the  serpent;  the  right  arm  of  the  son  on 
the  left,  with  the  coil  of  the  serpent  on  the  top;  the  right 
hand  and  part  of  the  forearm  of  the  son  on  the  right. 

Helbig,  Guide,  I,  No.  153. 

844  AKTAION  ATTACKED  BY  HIS  HOUNDS.  Probably 
a Roman  copy  of  a larger  work  of  the  Hellenistic  period. 
Found  near  Civita  Lavinia,  and  now  in  the  British  Mu- 
seum. 

Restorations:  The  hands,  the  neck,  the  occiput,  part  of 
the  nose  and  of  the  horns  of  Aktaion;  the  front  part  of  the 
head  and  the  ears  of  the  dog  leaping  up;  the  ears  of  the  second 
dog;  part  of  the  rocky  plinth. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1568. 

845  TWO  WRESTLERS.  Group  found  near  the  Lateran, 
Rome,  and  now  in  the  Uffizi  Gallery,  Florence. 
Restorations:  Both  heads,  which  are  ancient,  but  do  not 
belong  to  the  figures;  of  the  under  figure,  the  left  arm  and 
hand,  the  left  leg  from  the  middle  of  the  thigh;  of  the  upper 
figure,  both  arms  and  hands,  the  lower  left  leg,  both  feet. 

W.  Amelung,  Fuhrer  durch  die  Antiken  in  Floreni,  No.  66. 


128  GREEK  AND  ROMAN  SCULPTURE 

846  THE  BORGHESE  WARRIOR.  The  figure  must  prob- 
ably  be  thought  of  as  in  close  combat  with  an  opponent.  It 
is  inscribed  with  the  name  of  the  sculptor  Agasias,  son  of 
Dositheos,  of  Ephesos.  Last  half  of  the  second  or  early  part 
of  the  first  century  B.  C.  Found  at  Antium,  and  now  in 
the  Museum  of  the  Louvre. 

Restorations:  The  right  arm,  the  right  ear. 
Friederichs-Wolters,  No.  1425. 

847  FIGURE  FROM  A GROUP  OF  TWO  BOYS  quarrelling 
over  the  game  of  huckle-bones  (astragali).  Of  the  other 
boy,  only  the  forearm  is  preserved,  which  this  one  is  biting. 
Formerly  in  the  Barberini  palace,  Rome,  and  now  in 
the  British  Museum. 

Restorations:  The  tip  of  the  nose,  the  left  arm,  the  right 
wrist,  both  feet,  the  arm  of  the  adversary  to  the  wrist,  all 
the  base  except  a small  part  underneath  the  body. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1756. 

848  GIRL  PLAYING  HUCKLE-BONES.  Found  in  the 
Villa  Verospi,  near  the  Salarian  Gate,  Rome,  and  now  in  the 
British  Museum. 

Restorations:  The  head,  the  left  shoulder,  the  right  hand 
and  wrist,  parts  of  the  fingers  of  the  left  hand,  both  feet. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1710. 

849  BOY  STRUGGLING  WITH  A GOOSE.  Early  part  of 
the  Hellenistic  period.  Formerly  in  the  Palazzo  Braschi, 
Rome,  and  now  in  the  Glyptothek  at  Munich. 
Restorations:  Of  the  boy,  the  knot  of  hair  over  the  fore- 
head, the  tip  of  the  nose,  parts  of  the  lips,  and  minor  pieces; 
of  the  goose,  the  head,  the  ends  of  the  wings. 

Furtwangler,  Beschreibung  der  Glyptothek,  No.  268. 


HEADS 

850  COLOSSAL  BUST  OF  SERAPIS.  Of  basalt.  Roman 
copy  of  a work  of  the  third  or  second  century  B.  C.  For- 
merly in  the  possession  of  the  Mattei  family,  and  now  in  the 
Vatican. 


842 — THE  SITTING  BOXER,  AS  DISCOVERED 


FROM  A PHOTOGRAPH  TAKEN  AT  THE  IIME 


¥ 


il  • 


5 





■ f 


f 


HELLENISTIC  PERIOD  I29 

Restorations:  The  nose  and  numerous  fragments  of  the 
hair  and  beard. 

Helbig,  Guide,  I,  No.  241. 

851  THE  ‘^POURTALES  APOLLO.^’  Roman  copy  of  a head 
of  the  third  or  second  century  B.  C.  In  the  British  Museum. 
Restorations  : The  nose,  parts  of  the  lips  and  ears,  a piece  of 
the  neck. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1547. 

852  COLOSSAL  BUST  OF  HERAKLES.  Found  at  the  foot 
of  Mt.  Vesuvius.  In  the  British  Museum. 

Restorations:  The  nose,  part  of  the  right  cheek,  the  right 
ear,  the  lobe  of  the  left  ear,  the  bust. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1736. 

833  HEAD  OF  MENELAOS.  From  a group  representing 
Menelaos  with  the  body  of  Patroklos.  Roman  copy  of  a 
work  dating  probably  from  the  third  century  B.  C.  Found 
in  Hadrian’s  Villa,  Tivoli,  and  now  in  the  Vatican. 
Restorations:  The  nose  and  part  of  the  upper  lip,  a por- 
tion of  the  lower  lip,  most  of  the  right  eye,  fragments  in  the 
left  cheek,  the  brow,  the  hair,  the  helmet,  and  the  bust. 
Helbig,  Guide,  I,  No.  240. 

854  HEAD  OF  A SLEEPING  ERINNYS  (Fury).  Probably 
from  a colossal  group.  Formerly  in  the  Ludovisi  Collection, 
and  now  in  the  Museo  delle  Terme,  Rome. 

Restorations:  The  nose,  the  right  half  of  the  under  lip,  the 
piece  of  the  breast  and  shoulders,  parts  of  the  hair,  the  whole 
background. 

Helbig,  Guide,  II,  No.  866. 

855  HEAD  OF  DIONYSOS.  Hellenistic  type.  Found  near 
Rome,  and  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1627. 

856  HEAD  OF  MARSYAS.  In  the  Museum  of  the  Capitol,  Rome. 
The  bust  is  restored. 

Helbig,  Guide,  1,  No.  430. 


130  GREEK  AND  ROMAN  SCULPTURE 

857  HEAD  OF  A YOUTHFUL  SATYR.  Of  bronze.  Hellen- 
istic period.  Formerly  in  the  Villa  Albani,  and  now  in  the 
Glyptothek,  Munich. 

Restorations:  The  neck  and  the  bust. 

Furtwangler,  Beschreibung  der  Glypiothek,  No.  450. 

858  HEAD  OF  A SATYR.  Hellenistic  type.  Found  about 
four  miles  from  the  Porta  Maggiore,  Rome,  and  now  in  the 
British  Museum. 

Restorations:  The  tip  of  the  nose,  parts  of  the  right  ear 
and  of  the  hair. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1661. 

859  HEAD  OF  A GAUL.  Third  century  type.  Found  in  the 
Forum  of  Trajan,  Rome,  and  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1770. 

860  HEADOF  A YOUTH.  Of  terracotta.  End  of  the  fourth 
or  beginning  of  the  third  century  B.  C.  Found  at  Taren- 
tum,  and  now  in  the  Berlin  Museum. 

The  tip  of  the  nose  is  restored. 

Deonna,  Revue  archeologique,  1906,  p.  402. 

861  FEMALE  HEAD.  Type  of  the  third  century  B.  C.  From 
Athens.  In  the  Berlin  Museum. 

Berlin  Beschreibung  der  antiken  Skulpturen,  No.  616. 

862  FEMALE  HEAD.  Probably  of  the  second  century  B.  C. 
Found  in  Cyprus,  and  now  in  the  Berlin  Museum. 

Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No.  617. 

863  CAST  FROM  A TERRACOTTA  MOULD  of  a female 
head,  surrounded  by  akanthos  leaves.  In  the  Museo  Arche- 
ologico,  Florence. 


RELIEFS 

864-870 

FRAGMENTS  OF  A FRIEZE  FROM  PRIENE,  representing 
the  Battle  of  the  Gods  and  Giants.  They  were  found  on  the  site 


HELLENISTIC  PERIOD 


I3I 

of  the  Temple  of  Athena  Polias,  and  probably  formed  part  of  a 
balustrade.  Middle  of  the  second  century  B.  C.  (?).  In  the 
British  Museum. 

864  Upper  Part  of  a draped  Female  Figure  (Gaia  ?). 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  II,  No.  1175. 

865  Group  of  a Giant  (?)  and  a Female  Figure  (?). 

B.  M.  Catalogue,  II,  No.  1165. 

866  Fragment  of  a Giant. 

B.  M.  Catalogue,  II,  No.  1166. 

867  Group  of  Dionysos  (?)  and  a Giant. 

B.  M.  Catalogue,  II,  No.  1169. 

868  Torso  of  a Draped  Female  Figure. 

B.  M.  Catalogue,  II,  No.  1174. 

869  Draped  Female  Figure. 

B.  M.  Catalogue,  II,  No.  1171. 

870  Kybele  Seated  on  a Lion. 

B.  M.  Catalogue,  II,  No.  1 170. 

871  THE  WEDDING  PROCESSION  OF  POSEIDON  AND 
AMPHITRITE.  These  reliefs  probably  once  decorated 
the  three  sides  of  an  altar  erected  in  Rome  by  Cn.  Domitius 
Ahenobarbus,  35-32  B.  C.,  in  front  of  the  temple  of  Nep- 
tune. The  relief  which  decorated  the  fourth  side  is  in  the 
Louvre.  The  types  from  which  the  figures  in  the  composi- 
tion are  copied  belong  for  the  most  part  to  Hellenistic  times. 
In  the  Glyptothek,  Munich. 

Restorations:  Many  small  pieces,  including  the  ends  of 
nearly  all  the  noses,  the  left  arm  and  hand  of  the  woman  on 
the  bull,  the  arms  and  head  of  the  Eros  behind  her,  the  horns 
of  the  lyre,  the  shell  and  both  forearms  of  the  front  Triton, 
part  of  the  vase  in  the  left  hand  of  one  of  the  Nereids,  the 
left  arm  and  wing  of  the  Eros  behind  her,  the  whole  of  the 
floating  Eros  next  to  the  pillar,  except  the  lower  half  of  the 
wing,  the  head  and  half  of  the  neck  of  the  sea-dragon,  the 
three  heads  of  the  last  group,  and  parts  of  the  right  arms  of 


132  GREEK  AND  ROMAN  SCULPTURE 

both  females.  These  restorations  were  made  from  the  traces 
left  on  the  background  of  the  relief. 

Furtwangler,  Beschreihung  der  Glyptothek,  No.  239. 

872  HELIOS  DRIVING  HIS  CHARIOT.  Metope  from  a late 
Greek  temple  on  the  site  of  Troy  (Hissarlik).  Found  by 
Dr.  Schliemann  in  1872,  and  now  in  the  Ethnographical 
Museum,  Berlin. 

Schliemann,  Troja,  fig.  109,  p.  202. 

873  DIONYSOS  RECEIVED  BY  IKARIOS  (?),  the  mythical 
Athenian  who  entertained  the  god  on  his  first  visit  to  At- 
tica. Hellenistic  type.  Formerly  in  the  Villa  Montalto, 
and  now  in  the  British  Museum. 

Restorations:  The  left  arm  and  the  top  of  the  head  of 
Silenos;  the  head  and  the  right  arm  of  the  satyr  following 
him;  the  head,  the  upper  part  of  the  body  and  part  of  the 
drapery  of  the  last  figure  at  the  right;  part  of  the  column 
under  the  herma  at  the  left;  the  drapery  at  the  foot  of 
Ikarios.  On  the  couch  was  a female  figure  which  has  been 
erased.  The  last  satyr  to  the  right  supported  a Maenad  in 
his  arms,  traces  of  which  are  visible. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum^  HI,  No.  2190. 

874  DIONYSOS  RECEIVED  BY  IKARIOS  (?).  Similar  to 
the  preceding.  From  Capri.  In  the  Museum  of  Naples. 
Restorations:  The  heads  of  the  last  two  satyrs  on  the  right, 
and  the  upper  right-hand  corner  of  the  block. 

Schreiber,  Hellenistische  Reliejhilder,  pi.  XXXIX. 

875  DIONYSOS  AND  ARIADNE.  Relief  in  three  sections. 
The  two  side  panels  represent  statues  in  niches.  In  the 
middle  is  a group  representing  Ariadne  forsaken  by  Theseus, 
and  Dionysos  approaching  her.  Said  to  have  been  found  in 
Hadrian’s  Villa  at  Tivoli,  and  now  in  the  Vatican. 
Restorations:  The  left  part  of  the  slab,  with  almost  the 
whole  of  the  statuette  in  the  left  niche,  parts  of  the  torsos 
of  both  male  figures  in  the  central  relief,  the  right  arm  of  the 
statuette  in  the  right  niche,  the  column  to  the  left  of  this 
statuette,  various  parts  of  other  columns,  the  greater  part 
of  the  hunting  scene  above. 

Helbig,  Guide,  I,  No.  216. 


HELLENISTICPERIOD  I33 

876  DIONYSOS  AND  ARIADNE.  Relief  in  the  Vatican. 
Restorations:  Of  Dionysos,  the  whole  upper  part,  both 
arms,  the  top  of  the  sceptre;  of  Ariadne,  both  arms  and  the 
left  foot;  the  upper  half  of  the  Silenos. 

Helbig,  Guide,  I,  No,  192. 

877  DIONYSIAC  SCENE.  Relief  in  the  Uffizi  Gallery,  Flor- 
ence. 

Diitschke,  Antike  Bildwerke  in  Oheritalien,  III,  p.  226,  No. 
516. 

878  DIONYSIAC  PROCESSION.  Relief  formerly  in  the  Far- 
nese  Collection,  and  now  in  the  Museum  of  Naples. 

Museo  Borbonico,  III,  pi.  XL. 

879  SATYR  AND  MAENAD.  Relief  in  the  Villa  Albani, 
Rome. 

Restorations:  The  lower  part  of  the  Maenad,  the  left 
leg  of  the  satyr  from  the  knee  down,  the  legs  of  the  panther. 
Helbig,  Guide,  II,  No.  752. 

880  STELE  WITH  A CROWN  OF  IVY.  It  served  as  a base 

for  a small  statue.  The  inscription  reads:  "Exip.£XTr)Tai  'zfic, 

Ipyaaiac;  tou  ayaXpLaToq  aveOejavTWt  Atovuaon.  “The  over- 
seers of  the  making  of  the  statue  dedicated  it  to  Dionysos.” 
Found  at  Ikaria,  and  now  in  the  National  Museum,  Athens. 
C.  D.  Buck,  American  Journal  of  Archaeology,  V,  1889,  p. 
316,  No.  12. 

881,  882  DANCING  GIRLS.  Two  reliefs,  each  representing  a 
dancing  girl  enveloped  in  a long  mantle.  Found  on  the 
site  of  the  theatre  of  Dionysos,  in  Athens,  and  now  in  the 
National  Museum  there.  Nos.  259,  260. 

Svoronos,  Das  aihener  Naiionalmuseum,  pi.  XXXII. 

883  THE  APOTHEOSIS  OF  HOMER.  On  the  lowest  row  is: 
Homer  receiving  the  adoration  of  History,  Poetry,  and 
other  allegorical  figures  (identified  by  inscriptions). 

On  the  second  row:  Apollo  and  the  Muses. 

On  the  top  row:  Zeus. 

The  name  of  the  sculptor  Archelaos,  son  of  ApoIIonios,  of 
Priene,  is  inscribed  in  letters  of  the  first  century  B.  C.  Found 
at  Bovillae  on  the  Via  Appia,  near  Rome,  and  now  in  the 
British  Museum. 


134  GREEK  AND  ROMAN  SCULPTURE 

Restorations:  Part  of  Homer’s  right  foot,  the  left  hand  of 
Mythos,  with  the  patera,  the  heads  of  Sophia,  Apollo,  the 
Delphic  priestess,  the  poet  on  the  pedestal,  and  of  Several 
of  the  Muses;  also  both  upper  corners. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2191. 

884  DAIDALOS  AND  IKAROS.  Relief  in  rosso  antico.  Found 
in  the  neighborhood  of  Naples,  and  now  in  the  Villa  Albani, 
Rome. 

Restorations:  The  upper  part  of  the  slab,  with  the  point 
of  the  wing  standing  on  the  ground,  the  head  and  the  right 
hand  of  Ikaros,  and  the  upper  part  of  the  wing  on  which 
Daidalos  is  working. 

Helbig,  Guide,  11,  No.  807. 

885  NINE  WINGED  FIGURES,  holding  candelabra,  thymia- 
teria,  and  vessels.  Two  blocks  from  a frieze,  in  low  relief. 
In  the  National  Museum,  Athens. 

Sybel,  Katalog  der  Sculpturen  \u  A then,  No.  304. 

886  SCENE  FROM  A COMEDY.  Relief  from  the  Farnese  Col- 
lection. In  the  National  Museum,  Naples. 

Schreiber,  Hellenistische  Reliejhilder,  pL  83. 

887  ATHENIAN  CALENDAR.  Reliefs  representing  the  an- 
imals of  the  zodiac  and  the  Attic  festivals  of  each  month. 
The  frieze  is  now  built  into  the  Old  Cathedral  at  Athens. 
The  crosses  which  are  worked  into  it  at  intervals  date  from 
the  time  when  it  was  first  used  for  its  present  purpose,  as 
the  decoration  of  a church. 

Friederichs-Wolters,  Nos.  1909,  1910. 

888  SECTION  OF  A ROUND  ALTAR  decorated  with  festoons 

and  masks.  Second  century  B.  C.  Found  in  the  Dionysiac 
theatre  at  Athens,  and  still  in  its  original  position.  The 
dedicatory  inscription  reads:  IlccjTOXpaTYjc;  y.cd  ’ A^oWo^ti)- 
poq  SaTUpou  ’Auptoat ':ro[jnuoa-ToX‘qc7avT£c;  xal  ysvo- 

pevoi  Tou  ysvouc  toO  B(ZZ.73ao6)v  av£0Y]y.av,  “ Pistokrates  and 
Apollodoros  the  sons  of  Satyros  of  the  deme  of  Auridai,  and 
of  the  race  of  the  Bacchiades,  while  they  were  conductors 
of  the  procession  and  archons,  dedicated  it.” 

In  Hall  38. 

Schone,  Griechische  Reliefs,  pis.  V,  VI,  47,  47a. 


HELLENISTICPERIOD  I35 

889  SARDONYX  CAMEO.  The  identification  of  the  two 
heads  is  uncertain;  they  are  apparently  idealized  portraits, 
possibly  of  Alexander  and  Olympias.  Hellenistic  period. 
In  the  Hermitage,  St.  Petersburg. 

Furtwangler,  Antike  Gemmen,  pi.  LHI,  2. 


PORTRAITS 

(on  south  wall  of  gallery  26) 

890  STATUE  OF  DEMOSTHENES.  Perhaps  a copy  of  a 
bronze  statue  of  Demosthenes  by  Polyeuktos,  erected  about 
280  B.  C,  Formerly  in  the  Villa  Aldobrandini,  Frascati, 
and  now  in  the  Vatican. 

Restorations:  Both  wrists  and  hands,  with  the  scroll. 
Helbig,  Guide,  I,  No.  30. 

891  SEATED  STATUE  OF  A POET,  formerly  called  Ana- 
KREON.  Roman  copy  of  a Hellenistic  work.  Found  at 
Monte  Calvo.  Formerly  in  the  Villa  Borghese,  and  now  in 
the  Ny-Carlsberg  Glyptothek,  Copenhagen. 

Restorations:  The  right  arm  from  the  elbow  (except  the 
hand,  on  which  only  the  thumb  is  restored),  the  fingers  of 
the  left  hand,  the  greater  part  of  the  lyre. 
Friederichs-Wolters,  No.  1305. 

Bernoulli,  Griechische  Ihono graphic,  I,  p.  79. 

892  SEATED  STATUE  OF  MENANDER  (?).  Third  century 
B.  C.  Place  of  discovery  unknown.  In  the  Vatican. 
Restorations:  The  tip  of  the  nose,  the  left  hand,  the 
scroll,  part  of  the  right  foot. 

Helbig,  Guide,  I,  No.  201. 

893  SEATED  STATUE  OF  POSEIDIPPOS  (name  inscribed). 
Place  of  discovery  unknown.  Now  in  the  Vatican. 
Restorations:  The  end  of  the  nose,  the  left  thumb. 

Helbig,  Guide,  I,  No.  200. 

894  ARISTI PPOS(?).  Greek  portrait-statue,  popularly  known 
as  Aristotle.  The  head  is  Roman,  and  does  not  belong 
to  the  statue.  In  the  Palazzo  Spada,  Rome. 

Restorations:  The  nose,  the  right  forearm  with  the  elbow 


136  GREEK  AND  ROMAN  SCULPTURE 

and  part  of  the  upper  arm,  the  left  lower  leg,  half  of  the  left 
foot,  a piece  of  the  himation. 

Helbig,  Guide,  II,  No.  954. 

895  PORTRAIT-STATUE  OF  A MAN  leaning  upon  his  spear. 
Of  bronze.  Found  together  with  No.  842  under  the  Colonna 
gardens,  Rome,  among  the  foundations  of  Aurelian’s  Temple 
of  the  Sun.  In  the  Museo  delle  Terme,  Rome. 
Restorations:  Half  of  the  left  forefinger,  half  of  the  right 
middle  finger,  a piece  in  the  left  thigh,  the  staff,  the  plinth. 
Helbig,  Guide,  II,  No.  1052. 

896  AESOP.  Head  and  torso  of  a statue.  In  the  Villa  Albani, 
Rome. 

Restorations:  The  front  of  the  nose,  the  right  shoulder. 
Helbig,  Guide,  II,  No.  756. 

897  STATUETTE  OF  DIOGENES.  In  the  Villa  Albani, 
Rome. 

Restorations:  The  nose,  both  arms  from  above  the  el- 
bows, the  left  leg,  the  right  leg  from  the  knee  down,  both 
feet,  the  dog,  and  the  tree-trunk. 

Helbig,  Guide,  II,  No.  753. 

898  BUST  OF  HERMARCHOS,  the  pupil  of  Epicurus.  Found 
at  Athens,  and  now  in  the  National  Museum  there.  No.  368. 
Friederichs-Wolters,  No.  1625. 

899  BUST  OF  SOKRATES.  In  the  Galleria  dei  Candelabri  of 
the  Vatican. 

Restorations:  The  neck  and  the  back  of  the  head. 
Bernoulli,  Griechische  Ikonographie,  I,  p.  186,  No.  5. 

900  BUST  OF  HOMER.  Replica  of  a type  created  in  the 
Hellenistic  period  as  an  ideal  portrait  of  the  poet.  Found 
at  Baiae.  In  the  British  Museum. 

The  tip  of  the  nose  is  restored. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1825,  pi.  X,  i. 

901  BUST  OF  HOMER.  Same  type  as  No.  900.  In  the  Castle 
of  Sanssouci  at  Potsdam,  near  Berlin. 

Restorations:  The  nose  and  pieces  in  the  hair  and  beard. 
Friederichs-Wolters,  No.  1628. 


HELLENISTICPERIOD  I37 

902  BUST  OF  EPICURUS.  Found  in  the  Villa  Casali,  Rome, 
and  now  in  the  British  Museum. 

Restorations:  The  nose,  part  of  the  left  ear,  part  of  the 
bust  and  drapery. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1844,  pi.  XI. 

903  HEAD  OF  PERIANDER(?),  tyrant  of  Corinth.  For- 
merly in  the  Villa  Montalto,  Rome,  and  now  in  the  British 
Museum. 

Restorations:  The  nose,  the  edges  of  the  ears,  the  termi- 
nal bust. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1827,  pi.  XI. 

904  ALEXANDER  THE  GREAT.  The  “Azara”  bust. 
Copy  of  a portrait  executed  probably  during  his  reign 
(336-323  B.  C.).  Found  near  Tivoli,  and  now  in  the  Muse- 
um of  the  Louvre,  No.  436. 

Restorations:  The  nose,  the  shoulders  and  a piece  in  the 
lips. 

Bernoulli,  Darstellungen  Alexanders  des  Grossen,  pi.  I,  p.  21. 

905  HEAD  OF  A YOUTH,  (Alexander  THE  Great?).  Prob- 
ably end  of  the  third  century  B.  C.  Found  in  Alexandria, 
and  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1857,  pi.  X,  fig.  2. 

906  HEAD  FROM  THE  STATUE  OF  A PUGILIST,  set  up 
to  commemorate  his  victory  in  the  Olympic  games.  Of 
bronze.  Third  century  B.  C.  Found  at  Olympia,  and 
now  in  the  National  Museum,  Athens. 

Olympia,  Die  Bron^en,  Atlas  pi.  II,  text  pp.  loflP. 

907  UNKNOWN  PORTRAIT,  formerly  called  Seneca.  In 
the  Uffizi  Gallery,  Florence. 

Restorations:  The  nose,  part  of  the  lips,  the  bust,  and 
the  greater  part  of  the  neck. 

Dutschke,  Antike  Bildwerke  in  Oheritalien,  HI,  p.  22,  No.  58. 


VOTIVE  RELIEFS  OF  VARIOUS  PERIODS 

ILLUSTRATING 

RELIGIOUS  CUSTOMS  OF  THE  GREEKS 
(IN  GALLERY  27) 

908  VOTIVE  TABLET  TO  ZEUS  MEILICHIOS,  worshipped 
in  the  form  of  a serpent.  Fourth  century  B.  C.  Found 
near  the  harbor  Zea  in  the  Peiraieus,  and  now  in  the  Berlin 
Museum. 

Berlin  Museum,  Beschreibungder  aniiken  Skulpturen,  No.  723. 

909  VOTIVE  RELIEF  TO  ZEUS  HYPSEISTOS,  representing 
two  eyes.  Inscribed  EbtBoTYj  Ad  'T4»ta-T0),  '‘Eisidote 
(dedicated  this)  to  Zeus  the  highest.''  Roman  period. 
Found  on  the  northern  slope  of  the  Akropolis,  Athens, 
and  now  in  the  Berlin  Museum. 

Berlin  Museum,  Beschreihung  der  antiken  Skulpturen,  No. 
720. 

910  VOTIVE  RELIEF  TO  ZEUS  HYPSEISTOS  representing 

a female  breast.  Inscribed,  “Eu- 

tychia  (offers  this)  prayer  to  the  Highest."  Roman 
period.  Found  on  the  northern  slope  of  the  Akropolis, 
Athens,  and  now  in  the  Berlin  Museum. 

Berlin  Museum,  Beschreihung  der  antiken  Skulpturen,  No. 
718. 

91  I VOTIVE  RELIEF  TO  ASKLEPIOS,  representing  Askle- 
pios  with  his  followers  and  worshippers.  Fourth  century 
B.  C.  Found  at  Thyrea,  and  now  in  the  National  Museum, 
Athens. 

Friederichs-Wolters,  No.  1150. 


VOTIVERELIEFS  1 39 

912  HERMES  BRINGING  A VOTARY  TO  ASKLEPIOS 
in  the  presence  of  the  three  Graces.  (Modern?).  The 
group  of  the  Graces  is  similar  to  that  in  Siena  (No.  820). 
In  the  Museo  Pio  Clementino  of  the  Vatican. 

Visconti,  Museo  Pio  Clementino,  4,  pi.  XIII,  p.  103. 

913  PAN,  HERMES  AND  THE  NYMPHS.  Votive  relief 
inscribed:  TYjXs^avYjq  Ilavl  xal  Nupupat(;,  “Telephanes  (dedi- 
cates this)  to  Pan  and  the  Nymphs.”  Found  in  a grotto 
on  Mount  Parnes,  and  now  in  the  National  Museum,  Athens. 
Friederichs-Wolters,  No.  1839. 

914  APOLLO,  ARTEMIS,  AND  A WORSHIPPER.  Votive 
relief  inscribed:  HuGataTY]*;  LletcrtxpaTYjq  ’AxpOTtp.ou  aveOY^xev, 
"‘The  Pythaist  Peisikrates,  son  of  Akrotimos  dedicated 
this.”  Fourth  century  B.  C.  Found  at  Ikaria,  Attica, 
and  now  in  the  National  Museum,  Athens. 

C.  D.  Buck,  American  Journal  of  Archaeology  V,  1889,  p. 
47L  XI. 

915  APOLLO,  SEATED  ON  THE  OMPHALOS,  AND  TWO 
MUSES  (?).  Relief  found  at  Ikaria,  Attica,  and  now  in 
the  National  Museum,  Athens. 

C.  D.  Buck,  American  Journal  of  Archaeology,  V,  1889, 
p.  473,  XII  and  pi.  XI,  i. 

916  DRAPED  FIGURE  (A  MUSE?)  leaning  on  a pillar. 
Fragment  of  a relief  found  at  Ikaria,  Attica,  and  now  in  the 
National  Museum,  Athens. 

C.  D.  Buck,  American  Journal  of  Archaeology,  V,  1889,  p. 

473»  XIII. 

917  HERAKLES  AND  THE  MUSES.  Relief,  in  two  slabs, 
found  at  Ikaria,  Attica,  and  now  in  the  National  Museum, 
Athens. 

C.  D.  Buck,  American  Journal  of  Archaeology,  V,  1889,  p. 
470,  X,  fig.  48. 

918  VOTIVE  RELIEF  TO  KYBELE,  representing  Kybele 
and  Flekate(P).  Beginning  of  the  fourth  century  B.  C. 
Found  in  the  Peiraieus,  and  now  in  the  Berlin  Museum. 
Berlin  Museum,  Beschreihung  der  antiken  Skulpturen,  No. 

691. 


140  GREEK  AND  ROMAN  SCULPTURE 

919  VOTIVE  RELIEF  REPRESENTING  HEKATE(?)  with 
a horse  and  a dog.  Found  at  Kramnon,  Thessaly,  and  now 
in  the  British  Museum. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  I,  No.  816. 

920  VOTIVE  RELIEF  TO  THE  NYMPHS  AND  ALL  THE 

GODS.  Inscribed:  01  tuXuv^<;  eu^a^evot  xal  ©eotq 

Tuaatv  Zwayopaq  ZwxuTcpou,  Z(oxuxpo<;  Zwaydpou,  OaXXoq, 
Asuxt),  SwxpaTYjt;  HoXuxpaTouc;,  ’AxoXXo(pavY]<;  ’Euxoptwvoq, 
ScoatcJTpaToi;,  MavYjq,  MuppfvTQ,  Swataq,  SwcuvIvyjc;,  M(Baq. 

‘The  washermen  Zoagoras  the  son  of  Zokypros,  Zokypros 
the  son  of  Zoagoras,  Thallos,  Leuke,  Sokrates  the  son  of 
Polykrates,  Apollophanes  the  son  of  Euporion,  Sosistratos, 
Manes,  Myrrine,  Sosias,  Sosigenes  and  Midas  dedicate  this 
to  the  nymphs  and  all  the  gods.”  Fourth  century  B.  C. 
Found  in  the  Stadion  at  Athens,  and  now  in  the  Berlin  Mu- 
seum. 

Berlin  Museum,  Beschreihung  der  antiken  Skulpturen,  No. 
709. 

921  OFFERINGS  TO  EILEITHYIA(?).  Relief  from  Sigeion 
in  the  Troad.  In  the  British  Museum. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  I,  No.  789. 

922  PORTION  OF  A RELIEF.  The  largest  of  the  four  fig- 
ures probably  represents  a divinity.  Found  at  Ikaria, 
Attica,  and  now  in  the  National  Museum,  Athens. 

C.  D.  Buck,  American  Journal  of  Archaeology,  V,  1889,  p. 
469,  XI,  fig.  47. 

923  A MAN  AND  A BOY  ADORING  A SERPENT.  Votive 
relief  of  the  fourth  century  B.  C.  Found  near  Eteonos  in 
Boeotia,  and  now  in  the  Berlin  Museum. 

Berlin  Museum,  Beschreihung  der  antiken  Skulpturen,  No. 
724. 

924  THE  “APOBATES”  RELIEF,  so-called.  Votive  offering 
for  a victory  in  a chariot-race.  In  the  “Apobates”  race 
the  contestants  were  obliged  to  mount  and  dismount  dur- 
ing the  progress  of  the  race.  Latter  part  of  the  fourth  cen- 
tury B.  C.  Found  built  into  the  so-called  “Beule  Gate” 
of  the  Akropolis,  and  now  in  the  Akropolis  Museum. 

In  Gallery  24. 


VOTIVERELIEFS  I4I 

Collignon,  Bulletin  de  correspondance  hellenique  VII,  1883, 
pi.  XVII,  and  p.  458. 

925  VOTIVE  RELIEF  DEDICATED  BY  THE  VICTOR  IN 
A CHARIOT-RACE.  Found  near  the  Skala  of  Oropos. 
In  the  Berlin  Museum. 

In  Gallery  24. 

Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No. 
725. 

926,  927  TWO  RELIEFS  FROM  THE  BASE  OF  A STATUE, 
dedicated  in  commemoration  of  victories  in  the  games. 

926  A Cyclic  Chorus. 

927  A Pyrrhic  Dance. 

Found  on  the  west  side  of  the  Akropolis,  Athens,  and  now 
in  the  Akropolis  Museum. 

Friederichs-Wolters,  No.  1330,  1331. 

928  TWO  HORSEMEN  FACING  EACH  OTHER.  Fragment 
of  a limestone  relief.  Found  at  Kertsch  in  the  Crimea,  and 
now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  665. 

929  RELIEF  REPRESENTING  A BULL-FIGHT.  Perhaps 
a votive  tablet.  Found  in  Naxos,  and  now  in  the  British 
Museum. 

In  Gallery  29. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2167. 

930  RELIEF  REPRESENTING  A SECTION  OF  A TRI- 
REME. Perhaps  from  the  pedestal  of  a votive  statue 
erected  by  a victor  in  a trireme-race.  Probably  fourth 
century  B.  C.  Found  on  the  Akropolis,  Athens,  and  now 
in  the  Akropolis  Museum. 

Baumeister,  Denkmdler,  HI,  p.  1627,  fig.  1689. 

931  RELIEF  REPRESENTING  SURGICAL  INSTRU- 
MENTS. Found  in  the  Asklepieion,  Athens,  and  now  in 
the  National  Museum  there,  No.  1378. 

Svoronos,  Das  athener  N ationalmuseum,  pi.  XLVH. 


142  GREEK  AND  ROMAN  SCULPTURE 

932  FRAGMENT  OF  A VASE-SHAPED  OBJECT  which 
probably  stood  on  the  top  of  a column.  Found  at  Ikaria, 
Attica,  and  now  in  the  National  Museum,  Athens. 

C.  D.  Buck,  American  Journal  of  Archaeology,  V,  1889, 
p.  178,  fig.  30. 

933  VOTIVE  TABLET  REPRESENTING  TOILET  ARTI- 
GEES.  In  the  centre  is  a bowl  with  the  inscription  KXau- 
(ota)  ’Ayi^Ta  "AvTCTuaTpou,  tepeca,  “Claudia  Ageta,  the 
daughter  of  Antipatros,  a priestess,  (dedicated  it).”  Found 
at  Slavochori  in  Laconia,  and  now  in  the  British  Museum. 
A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  812. 

934  VOTIVE  TABLET  REPRESENTING  TOILET  ARTI- 
CLES, inscribed  ’AvGouav]  AapiatvsTOU  uxoaTaTpta,  “An- 
thousa,  the  daughter  of  Damainetos,  a minister  in  the 
temple,  (dedicated  it).”  Found  at  Slavochori  in  Laconia, 
and  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  81 1. 

935  VOTIVE  RELIEF  REPRESENTING  TWO  TRESSES 
OF  HAIR.  Inscribed:  T>tX6p.6p0T0<;  ’AtpOovY^Toq  Asivopaxou, 
noaeiowvt,  “Philombrotos  and  Aphthonetos  the  sons  of 
Deinomachos  (dedicate  this)  to  Poseidon.”  Found  at  Thebes 
in  Thessaly,  and  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  798. 


ROMAN  PERIOD 


FIRST  CENTURY  B.  C.  TO  FOURTH  CENTURY  A.  D. 

(in  gallery  29) 

FTER  the  conquest  of  the  East  by  Alexander  the  Great, 


the  chief  centres  of  Greek  art  were  to  be  found,  as  we 


have  seen,  in  Asia  Minor  and  Alexandria.  When  Greece 


in  her  turn  was  conquered  by  Rome,  Hellenism  spread 


to  the  West,  and  there  began  a new  lease  of  life.  Thus,  both  as 
conquerors  and  conquered,  the  Greeks  imposed  their  culture  on 
the  people  with  whom  they  came  in  contact.  Nevertheless,  their 
relations  with  the  Romans  were  distinctly  different  from  what 
they  had  been  with  the  people  of  the  East.  To  the  East  they 
had  gone  with  the  prestige  of  conquest,  and  the  art  which  flour- 
ished in  their  wake  was  vigorous  and  independent.  To  Rome, 
on  the  other  hand,  Greek  artists  went  with  the  purpose  of  supply- 
ing the  needs  of  their  masters,  who  wished  to  fill  their  public 
places,  villas,  and  gardens  with  sculptural  decorations. 

The  great  majority  of  statues  in  every  museum  date  from  this 
time.  Though  they  do  not  stand  very  high  artistically,  they 
are  invaluable  to  us,  since  they  reproduce  works  of  the  preceding 
centuries  which  would  otherwise  be  utterly  lost.  Whenever 
these  statues  were  faithful  copies  of  such  originals,  they  have 
been  classed  in  this  catalogue  within  the  period  to  which  the 
originals  belong.  Only  in  cases  when  the  artist,  instead  of  making 
a copy  of  one  work,  has  combined  the  styles  of  various  epochs 
to  produce  a new,  heterogeneous  whole,  has  the  statue  been  classed 
as  belonging  to  the  period  in  which  it  was  actually  made. 

Such  statues,  however,  do  not  reflect  the  real  Roman  instinct 
in  art,  which  was  of  a more  literal  nature.  The  Romans  were 
first  of  all  conquerors,  and  their  ambition  was  to  represent  their 
conquests,  not  in  an  ideal  way,  as  had  been  done  by  the  Greeks, 
but  by  the  literal  representation  of  historical  events.  Hence 
their  triumphal  arches,  their  columns,  their  fora  were  decorated 


144  GREEK  AND  ROMAN  SCULPTURE 

with  processions,  incidents  from  campaigns,  and  sacrificial  scenes, 
in  all  of  which  individual  portraits  of  the  emperors  and  their  fol- 
lowers were  introduced.  Another  phase  of  this  instinct  was  the 
love  of  realistic  portraiture,  in  which  Roman  art  is  preeminent. 

In  the  early  years  of  the  Empire  decorative  art  also  attained  a 
high  level,  as  is  shown  by  such  works  as  the  Ara  Pacis,  the  ex- 
tensive remains  of  which  have  recently  been  brought  to  light,  the 
delicate  stucco  reliefs  from  the  Farnesina  Villa,  and  the  tombs  of 
the  Via  Latina. 


STATUES  OTHER  THAN  PORTRAITS 

936  GROUP  BY  THE  SCULPTOR  MENELAOS,  of  Rome. 
This  group  is  popularly  known  as  Orestes  and  Elektra, 
but  it  more  probably  was  a grave  monument  representing 
a mother  with  her  son.  The  inscription  on  the  pillar  reads 
MsvIXccoq  2T£9avou  paOiQTYjc;  Ittocsi,  “Menelaos  the  pupil  of 
Stephanos  made  this.”  This  Stephanos  is  probably  the 
one  mentioned  on  No.  937.  First  century  B.  C.  The 
place  of  discovery  is  unknown.  Formerly  in  the  Ludovisi 
Collection,  and  now  in  the  Museo  delle  Terme,  Rome. 
Restorations:  On  the  youth,  the  end  of  the  nose,  a piece 
in  the  top  of  the  head,  the  right  arm  from  above  the  elbow, 
part  of  the  fingers  of  the  left  hand,  the  front  half  of  the 
right  foot;  on  the  woman,  the  end  of  the  nose,  the  front 
half  of  the  top  of  the  head,  the  left  arm  below  the  sleeve, 
part  of  the  fingers  of  the  right  hand,  the  end  of  the  large 
toe  of  the  left  foot,  unimportant  pieces  in  the  drapery. 
Helbig,  Guide,  II,  No.  887. 

937  STATUE  OF  A YOUTH,  BY  STEPHANOS  of  Rome. 

On  the  tree  is  the  inscription:  riajCTeXoiK;  paOfjTY]^ 

exo£t,  “Stephanos  pupil  of  Pasiteles  made  this.”  First 
century  B.  C.  Found  outside  the  Porta  Salaria,  and  now 
in  the  Villa  Albani,  Rome. 

Restorations:  The  back  of  the  head,  the  left  forearm, 
the  right  arm,  the  front  half  of  the  right  foot,  some  of  the 
toes  of  the  left  foot. 

Helbig,  Guide,  II,  No.  744. 

938  STATUE  OF  A YOUTH.  Found  in  the  Olympieion, 
Athens,  and  now  in  the  National  Museum  there. 

Kavvadias,  Gatalogue,  No.  248. 


ROMANPERIOD  I45 

939  A CAMILLUS,  or  boy  employed  in  the  religious  cere- 
monies in  Rome.  Of  bronze.  In  the  Palazzo  dei  Conserva- 
tor!, Rome. 

Helbig,  Guide,  I,  No.  607. 

940  KARYATID.  Second  century  A.  D.  In  the  British 
Museum. 

Restorations:  The  right  forearm,  three  fingers  of  the 
left  hand,  the  left  foot,  small  parts  of  the  kalathos  on  her 
head,  and  of  the  drapery. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  111,  No.  1746. 

941  FEMALE  FIGURE  CARRYING  A VASE.  Said  to 
have  been  found  in  Hadrian’s  villa,  Tivoli,  and  now  in  the 
Museum  of  the  Capitol,  Rome. 

Restorations:  The  cover  of  the  vase,  the  lower  part  of 
the  figure  from  the  knees.  The  head  is  ancient,  but  does 
not  belong  to  the  statue. 

Helbig,  Guide,  I,  No.  528. 


RELIEFS 

942  RELIEF  ON  THE  ARCH  OF  TITUS  in  Rome,  which  was 
built  to  commemorate  the  victories  of  the  Emperor  Titus 
over  Judaea,  and  his  capture  of  Jerusalem,  A.  D.  70.  On 
the  relief  are  represented  Roman  soldiers  with  their  cap- 
tives bearing  the  table  of  the  shew-bread  and  the  golden 
seven-branched  candlestick. 

S.  Reinach,  L’Arc  de  Titus,  1890. 

943  RELIEF  ON  THE  COLUMN  OF  TRAJAN  in  Rome, 
representing  Nike  (Victory)  writing  on  a shield.  A.  D.  104- 
1 14.  For  the  type  compare  the  Nike  of  Brescia,  No.  747. 
Brunn-Bruckmann,  Denkmdler,  No.  398,  i. 

944  ^ QUADRIGA,  driven  to  left,  the  horses  galloping  at 
full  speed  and  preceded  by  a running  youth.  Neo-Attic 
relief.  In  the  possession  of  the  Due  de  Louie  at  Lisbon. 
Homolle,  in  the  Bulletin  de  correspondance  hellenique,  XVI, 
1892,  p.  325,  pi.  VIII. 


146  GREEK  AND  ROMAN  SCULPTURE 

945,946  RELIEFS  WHICH  PROBABLY  FORMED  PART 
OF  THE  DECORATIONS  OF  THE  MAUSOLEUM  OF 
THE  GENS  HATERIA,  a distinguished  Roman  family 
in  the  early  years  of  the  Empire. 

945  Part  of  the  Via  Sacra,  showing  five  of  the  buildings 
near  its  eastern  end.  These  are:  The  temple  of  Jupiter 
Stator,  with  a seated  statue  of  Jupiter  inside;  the  Arch  of 
Titus,  inscribed  arcvs  in  sacra  via  svmma,  “the  arch  at 
the  top  of  the  Via  Sacra,'’  with  a statue  of  the  goddess 
Roma  below  the  archway;  a second  arch,  unidentified, 
with  a quadriga  on  top,  and  a statue  of  Cybele  below; 
the  Colosseum;  and  a third  arch,  inscribed  arcvs  ad 
ISIS,  “the  arch  near  the  temple  of  Isis,”  with  a figure  of 
Minerva  in  the  central  arch.  All  these  divinities  had 
shrines  near  the  Via  Sacra. 

946  The  Representation  of  an  Elaborate  Tomb,  prob- 
ably the  mausoleum  of  the  Hateria  family,  its  walls  richly 
decorated  with  pilasters  and  sculptures.  The  figures  on 
the  top  are  probably  supposed  to  be  inside.  At  the  left 
is  a huge  derrick,  with  which  the  hoisting  is  done  by  a 
tread-wheel  worked  by  men,  probably  introduced  as  an 
indication  that  the  tomb  was  not  entirely  completed. 

These  reliefs,  with  others  from  the  same  tomb,  were  found 
on  the  Via  Labicana,  about  five  miles  from  Rome,  and 
are  now  in  the  Lateran  Museum. 

Helbig,  Guide,  I,  Nos.  671,  672.  On  the  construction  and 
use  of  the  derrick  see  Bliimner,  Technologic  und  Termino- 
logic  der  Gewerhe,  HI,  pp.  ii8ff. 

947  THE  DYING  MELEAGER  being  carried  to  his  home. 
Relief  from  a Roman  sarcophagus  of  the  second  century 
A.  D.  Formerly  in  the  Vatican,  now  in  the  Museum  of 
the  Capitol. 

Restorations:  The  lower  half  of  the  legs  of  all  the  figures 
and  the  right  hand  of  Meleager. 

Robert,  Die  antihen  Sarkophagreliefs,  HI,  2,  pi.  XCVH, 
No.  292. 

948,  949  TWO  RELIEFS  FROM  A ROMAN  CIRRUS: 

948  Centaurs  with  youths  riding  on  their  backs. 


ROMANPERIOD  1 47 

949  A Man  and  a Woman  watching  a Hind  suckling  her 
young. 

In  the  Vatican. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  Nos.  545 
and  546. 

950  RELIEF  FROM  A SARCOPHAGUS  representing  a pro- 
cessional car  (thensa  or  carpentum)  in  which  sacred  ob- 
jects were  carried  from  the  Capitol  to  the  Circus  during  the 
games.  On  the  car  is  a relief  of  Zeus  and  the  Dioscuri. 
Probably  third  century  A.  D.  In  the  British  Museum. 
Restorations:  The  wheel  of  the  car,  the  right  end  of  the 
relief,  parts  of  the  horses. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2310. 

951  FRIEZE  OE  AMAZONS.  Part  of  the  cover  of  a sar- 
cophagus. In  the  British  Museum.  Other  parts  of  the 
same  sarcophagus  are  in  the  Vatican  and  in  the  Palazzo 
Salviati,  Rome. 

Restorations:  The  lower  part  of  all  the  faces;  of  the 
individual  figures,  from  left  to  right,  on  (i)  the  right  arm, 
the  right  knee,  and  the  toes  of  the  right  foot;  on  (2)  the 
toes  of  the  right  foot;  on  (3)  the  toes  of  the  left  foot;  on 
(4)  part  of  the  right  shoulder,  both  legs  from  the  middle 
of  the  thighs;  on  (5)  the  left  arm.  Also  parts  of  the  mould- 
ings above  and  below.  It  has  been  asserted  that  the  whole 
of  the  figures  (5)  and  (6)  are  new,  but  this  does  not  appear 
to  be  correct. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2299. 

952  A MARRIAGE  CEREMONY.  Part  of  a relief  from  a 
sarcophagus.  Second  century  A.  D.  In  the  British  Mu- 
seum. 

Restorations:  The  head  of  the  figure  on  the  left,  the 
upper  parts  of  the  heads  of  the  other  figures,  and  six  inches 
at  the  bottom,  with  the  feet  and  draperies  of  the  figures. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2307. 

953  CENTAUR  AND  EROS.  Relief  in  the  Museum  of  the 
Capitol,  Rome(?). 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  858. 


148  GREEK  AND  ROMAN  SCULPTURE 

954  PREPARATIONS  FOR  THE  SACRIFICE  OF  A GOAT. 
Relief  in  the  Vatican. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2749. 


955  DANCING  MAENAD  playing  the  cymbals.  Neo-Attic 
relief  in  the  Villa  Albani,  Rome. 

Hauser,  Die  neu-attischen  Reliefs,  p.  13,  No.  ii. 

956  FRENZIED  MAENAD.  Relief  probably  inserted  as  a 
panel  in  some  object  of  decorative  character.  Neo-Attic. 
In  the  British  Museum. 

The  lower  right-hand  corner  is  restored. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2194. 

957  A TRAGIC  AND  A COMIC  MASK.  Relief  in  the  British 
Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2448. 

958  OBLONG  PANEL,  revolving  on  a pivot,  sculptured  on 
one  side  with  four  masks.  Such  panels  were  used  in  Ro- 
man houses  to  admit  air  or  light.  In  the  British  Museum. 
Restorations:  Parts  of  the  ground,  and  the  top  of  the 
thyrsos. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2454. 

959  WREATHS  AND  FILLETS;  Roman  military  insignia. 
Flat  relief  built  into  the  southeast  corner  of  the  Old  Ca- 
thedral at  Athens. 

P.  Steiner,  Bonner  Jahrhuch,  Heft  114. 

960  F.ARNESINA  RELIEFS.  Twenty  details  from  the 
stucco  reliefs  which  adorned  the  ceiling  of  one  of  the  bed- 
rooms of  a Roman  house  which  was  discovered  in  the  gar- 
den of  the  Villa  Farnesina.  Augustan  period.  In  the 
Museo  delle  Terme,  Rome. 

Helbig,  Guide,  II,  p.  220. 

Lessing  und  Mau,  IVand  und  Deckenschmuck  eines  rdmi~ 
schen  Hauses  aus  der  Zeit  des  Augustus.  Berlin,  1891. 


ROMAN  PERIOD 


149 


PORTRAITS 

961  BUST  KNOWN  AS  LUCIUS  JUNIUS  BRUTUS,  who 
expelled  King  Tarquinius  from  Rome.  The  identification 
rests  upon  slender  evidence.  Of  bronze.  In  the  Palazzo 
dei  Conservator!,  Rome. 

The  drapery  is  restored. 

Helbig,  Guide,  I,  No.  610. 

962  BUST  OF  MARCUS  JUNIUS  BRUTUS(?).  85-42 
B.  C.  In  the  Museum  of  the  Capitol,  Rome. 
Restorations;  The  tip  of  the  nose,  pieces  of  the  forehead, 
and  the  left  half  of  the  chin. 

Helbig,  Guide,  I,  No.  518. 

963  BUST  OF  CICERO  (106-42  B.  C.).  It  is  inscribed  m. 
CICERO  an[norum]  lxiii.  Stating  the  age  at  which  Cicero 
died,  an  indication  that  the  bust  was  made  after  his  death. 
In  the  Museum  of  Madrid. 

The  right  shoulder  is  restored. 

Bernoulli,  Romische  Ikonographie,  I,  pi.  10,  p.  135. 

964  BUST  OF  P.  CORNELIUS  SCIPIOAFRICANUS.  Of  late 
Roman  workmanship.  The  inscription  on  the  base  reads 
p.  COR.  scipio  APR.  In  the  Museum  of  the  Capitol,  Rome. 
Restorations:  The  nose  and  the  ears. 

Bernoulli,  Romische  Ikonographie,  I,  p.  36,  pi.  i. 

965  HEAD  OE  JULIUS  CAESAR  (100-44  B.  C).  In  the 
British  Museum.  (According  to  Furtwangler  this  head  is 
modern). 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1870. 

966  PORTRAIT-GROUP  OE  HUSBAND  AND  WIEE.  Prob- 
ably placed  in  a recess  on  the  facade  of  a Roman  tomb.  Eirst 
century,  B.  C.  Formerly  in  the  Villa  Mattel,  and  now  in 
the  Vatican. 

Helbig,  Guide,  I,  No.  235. 

967  PORTRAIT-STATUE  OF  A ROMAN.  First  century 

B.  C.  The  body  is  a replica  of  the  type  reproduced  in  the 
“Hermes  Logios”  of  the  Museo  delle  Terme,  Rome,  which 


150  GREEK  AND  ROMAN  SCULPTURE 

is  probably  a copy  of  a fifth-century  work.  The  inscrip- 
tion, on  the  tortoise,  reads:  KXso^xIvy]*;  KXso^evouq  ’AGr^valoq 
£7uoc‘r](j£v,  “Kleomenes,  the  son  of  Kleomenes,  the  Athenian, 
made  it.'’  Found  on  the  Esquiline,  Rome,  and  now  in  the 
Museum  of  the  Louvre,  No.  1207. 

Restorations:  The  thumb  and  the  forefinger  of  the  left 
hand. 

Frohner,  Notice  de  la  sculpture  antique  du  Louvre,  No.  184. 

968  HEAD  OF  YOUNG  AUGUSTUS  (63  B.  C.- 14  A.  D.). 
Found  at  Ostia,  and  now  in  the  Vatican. 

Restorations:  The  tip  of  the  nose,  pieces  in  the  ears,  the 
bust. 

Helbig,  Guide,  I,  No.  223. 

969  STATUE  OF  AUGUSTUS  (63  B.  C.- 14  A.  D.)  as  com- 
mander of  the  Roman  armies.  The  breastplate  is  adorned 
with  reliefs:  Above  is  Coelus,  the  personification  of  Heaven. 
Below  him,  the  Sun  with  the  goddesses  of  Morning,  Dew, 
and  Dawn.  The  central  group  consists  of  a Parthian  giving 
up  one  of  the  standards  captured  by  Crassus  to  a Roman 
soldier,  thus  symbolising  the  subjugation  of  the  Parthians. 
On  each  side  of  this  group  is  a captive  barbarian  (Hiberia 
and  Gallia?).  Beneath  are  represented  Apollo  and  Diana, 
and  Tellus,  the  Earth.  The  date  of  the  statue  is  about 
B.  C.  20,  that  is  to  say  when  Augustus  was  forty-three  years 
old.  Found  on  the  site  of  the  Villa  Livia  on  the  Via 
Flaminia,  near  Rome,  and  now  in  the  Vatican. 
Restorations:  Part  of  one  ear,  several  fingers,  probably 
the  right  arm,  the  sceptre. 

Helbig,  Guide,  I,  No.  5. 

970  PORTRAIT-STATUE  WEARING  A TOGA  AND  RE- 
STORED AS  AUGUSTUS.  The  head  is  an  ancient  por- 
trait of  Augustus,  but  does  not  belong  to  the  statue. 
Formerly  in  the  Vatican,  and  now  in  the  Museum  of  the 
Louvre,  No.  1212. 

Bernoulli,  Romische  Ikonographie,  II,  p.  36,  No.  51. 

971  HEAD  OF  AUGUSTUS  (63  B.  C.-14  A.  D.).  In  the 
British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1876. 


ROMANPERIOD  I5I 

972  BUST  OF  MARCUS  VIPSANIUS  AGRIPPA  (B.  C.  63-12). 
Found  at  Gabii.  Formerly  in  the  Borghese  Collection, 
and  now  in  the  Museum  of  the  Louvre,  No.  1208. 

Bernoulli,  Romische  Ikono graphic,  I,  p.  255,  fig.  38. 

973  DOUBLE  BUST  OF  SOKRATES  AND  SENECA.  The 
names  are  inscribed.  This  is  the  only  authentic  portrait 
of  Seneca  we  possess.  Found  in  the  grounds  of  the  Villa 
Mattel  in  Rome,  and  now  in  the  Berlin  Museum. 
Restorations:  On  Seneca,  the  nose  with  part  of  the  brow, 
part  of  the  left  eye,  and  several  small  pieces;  on  Sokrates, 
the  end  of  the  nose,  a piece  of  the  moustache. 

Berlin  Museum,  Beschreibung  der  antiken  Skulpturen,  No. 
391. 

974  BUST  OF  KLYTIE,  so  called.  Perhaps  a portrait  of 
Antonia,  mother  of  Germanicus.  Said  to  have  been  found 
near  Naples,  and  now  in  the  British  Museum. 
Restorations:  Part  of  the  left  ear,  two  leaves  of  the 
flower. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1874. 

975  BUST  OF  THE  EMPEROR  NERO  (A.  D.  37-68).  From 
Athens.  In  the  British  Museum. 

Restorations:  The  tip  of  the  nose. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1887. 

976  THE  “HERA  LUDOVISI,"  so  called.  Colossal  Roman 
head  representing  probably  a member  of  the  Claudian 
family.  Formerly  in  the  Ludovisi  Collection,  and  now  in 
the  Museo  delle  Terme,  Rome. 

Restorations:  The  end  of  the  nose,  part  of  the  right  nos- 
tril, the  curls  on  the  right  side  of  the  neck,  and  most  of  those 
on  the  left  side.  The  surface  has  been  worn  by  over-clean- 
ing and  rubbing  of  the  marble. 

Helbig,  Guide,  II,  No.  872. 

977  HEAD  OF  AN  EMPRESS  (?).  It  has  been  variously 
identified  as  Messalina,  Agrippina  the  wife  of  Claudius, 
and  Domitia.  Found  on  the  Esquiline,  Rome,  and  now  in 
the  British  Museum. 


152  GREEK  AND  ROMAN  SCULPTURE 

Restorations:  The  nose,  part  of  the  left  cheek  and  upper 
lip,  the  bust. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  111,  No.  2005. 

978  PORTRAIT-STATUE  OF  A ROMAN  GIRL.  Found 
in  Rome,  and  now  in  the  Museum  of  the  Louvre,  No.  481. 
Restorations:  The  right  arm  and  hand,  with  the  corner  of 
the  drapery  it  holds,  and  the  left  hand. 

Friederichs-Wolters,  No.  1186. 

979  VESTALIS  MAXIMA.  Upper  part  of  the  portrait-statue 
of  a chief  of  the  Vestal  Virgins.  Discovered  in  the  House 
of  the  Vestals,  and  now  in  the  Museo  delle  Terme,  Rome. 
Lanciani,  Ancient  Rome  in  the  Light  oj  Recent  Discoveries, 
plate  opposite  p.  138. 

980  PORTRAIT-STATUE  OF  A ROMAN  LADY,  seated. 
Formerly  called  Agrippina  the  Elder.  The  motive  of 
the  statue  is  probably  borrowed  from  a fourth-century 
work.  In  the  Museum  of  the  Capitol,  Rome. 
Restorations:  The  tip  of  the  nose,  the  fingers  of  the  left 
hand,  three  fingers  of  the  right  hand,  pieces  of  the  plinth. 
Helbig,  Guide,  I,  No.  460. 

981  SO-CALLED  PUDICITIA.  Portrait-statue  of  a Roman 
lady.  Formerly  in  the  Villa  Mattel,  and  now  in  the  Vati- 
can. 

Restorations:  The  head,  the  right  hand,  some  of  the 
toes,  pieces  in  the  drapery. 

Helbig,  Guide,  I,  No.  8. 

982  BUST  OF  HADRIAN  (76-138  A.  D.).  Formerly  in  the 
Villa  Montalto,  and  now  in  the  British  Museum. 
Restorations:  The  edge  of  the  right  ear,  and  part  of  the 
right  breast. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  tn  the  British 
Museum,  III,  No.  1897. 

983  PORTRAIT-HEAD  OF  A ROMAN  LADY.  Possibly 
either  Sabina,  the  wife  of  Hadrian,  or  Matidia,  the  mother 
of  Sabina.  Second  century  A.  D.  In  the  British  Museum. 


ROMANPERIOD  1 53 

Restorations:  The  nose,  the  ears,  parts  of  the  headdress, 
the  neck,  and  the  bust. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1898. 

984  STATUE  OF  ANTINOUS,  the  favorite  of  Hadrian.  Sec- 
ond century  A.  D.  Found  in  Hadrian’s  Villa,  near  Tivoli, 
and  now  in  the  Museum  of  the  Capitol,  Rome. 
Restorations:  Some  of  the  fingers  of  the  right  hand,  the 
left  hand  and  forearm,  the  left  leg  from  the  knee  down, 
the  right  foot,  the  tree,  and  the  plinth. 

Friederichs-Wolters,  No.  1659. 

985  HEAD  OF  ANTINOUS  with  the  attributes  of  Dionysos. 
Second  century  A.  D.  Found  on  the  Janiculum,  Rome, 
and  now  in  the  British  Museum. 

Restorations:  The  tip  of  the  nose,  part  of  the  chin,  parts 
of  the  hair  and  the  wreath,  the  bust. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1899. 

986  FRAGMENT  OF  A RELIEF  OF  ANTINOUS.  Time 
of  Hadrian.  Found  in  Hadrian’s  Villa,  near  Tivoli,  and  now 
in  the  Villa  Albani,  Rome. 

Restorations:  Several  fingers  of  the  right  hand,  almost 
the  whole  of  the  left  hand,  with  the  wreath,  part  of  the 
drapery. 

Helbig,  Guide,  II,  No.  775. 

987  BUST  OF  ANTONINUS  PIUS  (138-161  A.  D.).  Found 
in  the  Augusteum  at  Kyrene,  and  now  in  the  British  Mu- 
seum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  II,  No.  1463. 

988  BUST  OF  MARCUS  AURELIUS  (161-180  A.  D.).  Found 
in  the  Augusteum  at  Kyrene,  and  now  in  the  British  Mu- 
seum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1464. 


989  HEAD  OF  FAUSTINA  THE  YOUNGER  (?),  the  wife 


154  GREEK  AND  ROMAN  SCULPTURE 

of  Marcus  Aurelius  (about  130-175  A.  D.).  In  the  British 
Museum. 

Most  of  the  bust  is  restored. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1905. 

990  PORTRAIT-HEAD  OF  A YOUTH.  Found  in  Rome, 
and  now  in  the  Berlin  Museum. 

Berlin  Museum,  Beschreihung  der  antiken  Skulpturen,  No. 
399b. 


ARCHAISTIC  SCULPTURES 

(roman  imitations  of  the  GREEK  ARCHAIC  STYLE) 

991  ATHENA  PROMACHOS,  the  Dresden  Pallas.  'The 
statue  is  a Roman  adaptation  of  a Greek  work  of  the  early 
part  of  the  fifth  century  B.  C.  The  reliefs  on  the  peplos 
represent  the  Battle  of  the  Gods  and  Giants.  In  the  AI- 
bertinum,  Dresden. 

Restorations:  Both  feet  where  they  project  from  the 
drapery. 

Friederichs-Wolters,  No.  444. 

992  HERMA  OF  PAN.  Found  at  Civita  Lavinia,  and  now 
in  the  British  Museum. 

Restorations:  The  tip  of  the  nose,  the  right  arm,  the 
left  hand,  the  mouth-piece  and  lower  end  of  the  pipe,  the 
lower  part  of  the  herma. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  1745. 

993  BUST  OF  ZEUS.  From  the  collection  of  Prince  Talley- 
rand. Now  in  the  Museum  of  the  Louvre,  No.  640. 
Restorations:  Most  of  the  diadem,  and  the  two  locks 
that  hang  over  the  ears. 

Baumeister,  Denkmdler,  I,  p,  255,  fig.  261. 

994  THE  BORGHESE  ALTAR,  so  called.  Probably  the 
pedestal  of  a tripod.  On  the  upper  band  of  the  reliefs 
surrounding  the  three  sides  are  the  twelve  Olympic  divini- 
ties; on  the  lower,  the  Graces,  the  Hours,  and  possibly  the 
Fates.  The  individual  groups  are  as  follows:  On  the  side 
facing  Room  29,  upper  row,  Zeus,  Hera,  Poseidon, 


ROMAN  PERIOD 


155 

Demeter;  lower  row,  the  Graces.  Second  side  (to  the  right), 
upper  row,  Apollo  (restored  as  a female  figure),  Artemis, 
Hephaistos  or  Vulcan  (restored  as  a female  figure),  Athena; 
lower  row,  the  Hours.  Third  side,  upper  row.  Ares,  Aphro- 
dite, Hermes,  Hestia  or  Vesta;  lower  row,  the  Fates  (?). 
Formerly  in  the  Borghese  collection,  and  now  in  the  Mu- 
seum of  the  Louvre,  No.  672. 

Restorations:  The  upper  half  of  the  figures  of  Poseidon, 
Demeter,  Apollo,  Artemis  and  Hephaistos;  of  Athena, 
everything  except  the  right  breast,  the  feet,  with  the  lower 
part  of  the  legs,  and  a portion  of  the  lance;  of  Ares,  the 
upper  end  of  the  lance,  the  upper  part  of  the  helmet,  and 
the  thighs;  of  Aphrodite,  the  top  of  the  head;  of  Hestia,  the 
head,  the  breast,  the  left  arm,  and  both  feet.  There  are 
also  unimportant  restorations  in  the  figures  of  the  lower 
row. 

Froehner,  Notice  de  la  sculpture  antique  du  Louvre,  No.  i. 

995  PEDESTAL  OE  A TRIPOD  OR  CANDELABRUM. 
The  reliefs  consist  of  three  panels:  (a)  The  contest  of  Apollo 
and  Herakles  for  the  Pythian  tripod;  (b)  The  consecration 
of  a torch  (?);  (c)  The  consecration  of  a tripod.  Eormerly 
in  the  Chigi  Collection  in  Rome,  and  now  in  the  Albertin- 
um,  Dresden. 

In  Hall  38. 

Eriederichs-Wolters,  No.  423. 

996  NIKE  POURING  A LIBATION  TO  APOl.LO  in  the 
presence  of  Artemis  and  Leto.  Relief,  formerly  in  the 
Villa  Albani,  and  now  in  the  Berlin  Museum. 

Berlin  Museum,  Beschreibung  der  antihen  Skulpturen,  No. 

921. 

997  NIKE  POURING  A LIBATION  TO  APOLLO.  Relief 
in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  774. 

998  RELIEES  FROM  A PUTEAL,  or  well-curb.  They  prob- 
ably represent  an  assembly  of  deities.  Eound  at  Corinth. 
The  present  location  is  unknown. 

Michaelis,  Journal  of  Hellenic  Studies,  VI,  1885,  pis.  LVI, 
LVH. 

For  archaistic  reliefs  on  a candelabrum  see  No.  1014. 


156  GREEK  AND  ROMAN  SCULPTURE 
MISCELLANEA 

999  THE  WOLF  OF  THE  CAPITOL.  Of  bronze.  Probably 
an  Etruscan  work  of  the  fifth  century  B.  C.  The  place  of 
discovery  is  unknown,  and  possibly  it  was  never  buried. 
In  the  Palazzo  dei  Conservator!,  Rome. 

Restorations:  The  figures  of  the  twins,  which  were  added 
probably  about  the  year  1509.  The  wolf  itself  has  been 
considerably  repaired  and  restored. 

Helbig,  Guide,  I,  No.  618. 

1000  A,  B.  TWOOFTHE  FOUR  HORSES  ON  THE  FACADE 
OF  ST.  MARK’S,  Venice.  (In  Hall  38).  Of  gilt  bronze. 
They  are  said  to  have  been  part  of  a quadriga  which  was 
carried  from  Chios  to  Constantinople  in  the  reign  of  Theo- 
dosius the  younger  (fifth  century  A.  D.),  and  erected  in 
the  Hippodrome  there.  After  the  Latin  conquest  of 
Constantinople,  in  1204,  they  were  carried  to  Venice  and 
placed  in  their  present  position.  In  1797  Napoleon  re- 
moved them  to  Paris,  where  they  were  erected  in  front 
of  the  Tuileries  Palace,  but  they  were  returned  to  Venice 
after  his  fall. 

Giusti,  in  Ongania’s  Basilica  di  San  Marco,  pp.  423!?. 

1001  HEAD  OF  A BRONZE  HORSE.  From  Rome.  For- 
merly in  the  Palazzo  Riccardi,  in  Florence,  where  it  served 
as  a fountain;  after  1825  in  the  Uffizi,  and  now  in  the 
Museo  Archeologico,  Florence. 

Amelung,  Fiihrer  durch  die  Antiken  in  Floreni,  p.  276. 

1002  THE  VASE  OF  SOSIBIOS.  It  is  decorated  with  reliefs 
representing  an  altar  approached  on  the  right  by  Hermes, 
followed  by  a bacchante  and  a warrior,  and  on  the  left 
by  Artemis,  followed  by  a bacchante  and  a satyr.  On 
the  back  are  two  bacchantes.  The  inscription  on  the 
base  of  the  altar  gives  us  the  name  of  the  sculptor:  SwciStot; 
’AOTQvacoq  sT^ot..,  “Sosibios,  the  Athenian  made  this.”  Prob- 
ably first  century  B.  C.  Formerly  in  the  Villa  Borghese, 
and  now  in  the  Museum  of  the  Louvre,  No.  442. 

The  foot  of  the  vase  is  restored. 

Hauser,  Die  neu-attischen  Reliefs,  No.  i. 

1003  THE  BORGHESE  VASE,  so  called.  It  is  decorated 
with  reliefs  representing  a Dionysiac  scene.  Neo-Attic. 


ROMANPERIOD  1 57 

Formerly  in  the  Villa  Borghese,  and  now  in  the  Museum 
of  the  Louvre,  No.  86. 

Restorations:  The  nose  and  the  front  part  of  the  left  foot 
of  the  dancing  satyr;  the  right  calf  of  the  satyr  supporting 
Silenos;  the  right  hand  of  Silenos;  the  nose  of  the  Maenad 
playing  the  cymbals;  the  foot  of  the  vase. 

Frohner,  Notice  de  la  sculpture  antique  du  Louvre,  p.  306, 
No.  316. 

1004  RELIEFS  FROM  THE  SO-CALLED  MEDICI  VASE. 
They  probably  represent  Kassandra  surrounded  by  Greek 
heroes.  Eormerly  in  the  Villa  Medici,  Rome,  and  now 
in  the  Uffizi  Gallery,  Elorence. 

Restorations:  The  statue  of  the  goddess  (the  original 
was  probably  Athena,  not  Artemis);  on  the  running  man 
on  the  left  side  (the  second  from  the  centre),  the  tip  of  the 
nose,  the  elbow,  part  of  the  chlamys;  on  the  man  with 
the  right  arm  on  his  back,  perhaps  the  right  arm  and  the 
upper  part  of  the  body;  on  the  youth  next  to  Kassandra 
on  the  right  side,  both  feet,  the  lower  part  of  the  right 
thigh;  on  the  bearded  man  (the  second  from  the  centre  on 
the  right  side),  the  lower  end  of  the  sceptre;  on  the  man 
with  the  mantle  over  his  head,  perhaps  the  whole  upper 
part  of  his  body. 

Diitschke,  Antike  Bildwerke  in  Oheritalien,  III,  No.  537. 

1005  KRATER,  with  decorations  representing  a Bacchic 
orgy.  Neo-Attic.  Eound  on  the  site  of  a Villa  of  Anton- 
inus Pius  at  Monte  Cagnolo.  In  the  British  Museum. 
Restorations:  The  left  arm,  most  of  the  head,  and  the 
amphora  of  Pan;  the  face  of  the  youth  carrying  an  in- 
verted torch;  the  Maenad  and  satyr  to  the  right  of  Pan, 
with  the  exception  of  the  feet  of  both  figures  and  the  left 
arm  of  the  satyr;  the  foot  of  the  vase. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  111,  No.  2500. 

1006  COLOSSAL  VASE,  with  a Dionysiac  scene.  Neo-Attic. 
In  the  Campo  Santo,  Pisa. 

Hauser,  Die  neu-attischen  Reliefs,  p.  15,  No.  17. 

1007  ALTAR  EROM  OSTIA.  (In  Hall  38).  The  subjects 
of  the  reliefs  are:  On  the  front.  Mars  and  Venus  united 
by  Cupid;  on  the  back,  Romulus  and  Remus  nursed  by 


158  GREEK  AND  ROMAN  SCULPTURE 

the  Wolf  near  the  Tiber  (personified  by  the  reclining 
figure  of  an  old  man),  with  shepherds  above;  on  one  side, 
Cupids  playing  with  the  chariot  of  Mars;  on  the  other, 
Cupids  playing  with  his  arms.  The  inscription  on  the 
plinth  shows  that  the  altar  was  dedicated  to  Silvanus 
and  other  deities  in  the  year  124  A.  D.  In  the  Museo 
delle  Terme,  Rome. 

Mrs.  Arthur  Strong,  Roman  Sculpture,  pp.  24iff,  pis. 
LXXIII,  LXXIV. 

TO08  ROUND  ALTAR,  decorated  with  reliefs  representing 
dancing  satyrs  and  bacchantes.  Found  on  the  site  of 
the  ancient  Gabii,  and  now  in  the  Museum  of  the  Louvre, 
No.  1541. 

Principal  Restorations:  The  figure  of  the  bacchante 
carrying  the  vase  and  plate  of  fruit  (except  the  left  foot); 
the  satyr  with  the  panther’s  skin  (except  the  two  legs, 
and  minor  details);  the  dancer  playing  the  tambourine 
(except  the  left  leg,  arm,  and  part  of  the  drapery); 
the  legs  of  the  satyr  carrying  a vase  on  his  shoulder. 
In  Hall  38. 

Frohner,  Notice  de  la  sculpture  antique  du  Louvre,  No.  3. 

1009  SQUARE  ALTAR,  or  pedestal  of  a candelabrum.  For- 
merly in  the  Chigi  Collection,  and  now  in  the  Albertinum, 
Dresden. 

In  Hall  38. 

Becker’s  Augusteum,  pis.  XXXIII,  XXXIV. 

1010  FRONT  OF  THE  SEPULCHRAL  CHEST  OE  COR- 
NELIA SERVANDA.  The  inscriptions  read: 

CORNELIA  ONESIME. 

DIS  MANIBUS  SERVIUS  CORNELIUS  DIADUMENUS  CORNELIAS 
SERVANDAE  CONIU(gi)  SUAE  CARIs(sIMAe),  VIX(it)  ANN(is) 
LX,  ET  CORNELIAS  ONESIME  VERn(a)e  SUAE,  VIXIT  ANn(is) 
VIII,  MEN(sIBUs)  V DIE(bUs)  XXVIII. 

“Cornelia  Onesime.  To  the  Manes.  Servius  Cornelius 
Diadumenus  to  his  beloved  wife  Cornelia  Servanda,  who 
died  at  the  age  of  sixty,  and  to  Cornelia  Onesime,  his 
home-born  slave,  who  died  at  the  age  of  nine  years,  five 
months,  and  twenty-eight  days.” 

Found  in  the  Villa  Pellucchi,  near  the  Pincian  Gate,  Rome, 
and  now  in  the  British  Museum. 

A.  FI.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2363. 


ROMANPERIOD  I 59 

1011  SEPULCHRAL  CHEST  OP  VERNASIA  CYCLAX. 
The  inscription  reads: 

VERNASIAE  CYCLADI  CONIUGI  OPTIMAE  VIx(it)  ANn(is)  XXVII, 
viTALis  aug(usti)  l(ibertus)  scrib(a)  CUBICULARIS. 
“Vitalis,  the  freedman  of  Augustus  and  scribe  of  the  bed- 
chamber, to  his  excellent  wife  Vernasia  Cyclax,  who  died 
at  the  age  of  twenty-seven.” 

In  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2379. 

1012  SEPULCHRAL  CHEST  OE  SILIA  ATTICA.  The 
inscription  reads: 

d(is)  m(anibus)  siliae  atticae  fecit  p(ublius)  silius 

ABASCANTUS  MATRI  PIENTISSIMAE. 

“To  the  Manes.  Publius  Silius  Abascantus  made  it  for 
his  most  devout  mother.” 

In  the  British  Museum. 

Restorations:  The  cover  and  the  plinth. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2376. 


1013  CANDELABRUM,  with  a relief  of  four  Maenads.  Found 
near  Naples,  and  formerly  in  the  Vatican.  Now  in  the 
Museum  of  the  Louvre,  No.  500. 

Restorations:  Pieces  of  the  claws,  the  inverted 

akanthos  leaves,  several  pieces  of  the  shaft,  the  mask,  and 
the  right  hand  of  the  Maenad  carrying  the  plate  of  fruit; 
half  the  left  foot  of  the  one  behind  the  panther;  the  mask 
and  the  left  foot  of  the  one  with  the  thyrsos;  the  bowl 
and  the  flame  of  the  candelabrum. 

In  Hall  38. 

Frohner,  Notice  de  la  sculpture  antique,  No.  297. 

1014  CANDELABRUM,  with  reliefs  representing  Herakles 
carrying  off  the  Delphic  tripod,  pursued  by  Apollo  and 
his  priest.  Archaistic  style.  Found  in  the  Vigna  Verospi, 
on  the  site  of  the  Gardens  of  Sallust.  In  the  Galleria  dei 
Candelabri  of  the  Vatican. 

Restorations:  Almost  the  entire  base,  the  only  ancient 
portions  of  the  reliefs  being  the  head,  the  arm  with  the 
club,  and  the  breast,  of  Herakles;  the  head,  the  breast  and 
the  upper  right  arm,  of  the  priest.  The  figure  of  Apollo 


l60  GREEK  AND  ROMAN  SCULPTURE 

is  entirely  modern.  Of  the  upper  part,  the  basket  at  the 
top  of  the  shaft  and  the  dish  above  are  restored. 

In  Hall  38. 

Helbig,  Guide,  I,  No.  377. 

1015  ONE  OF  A PAIR  OF  CANDELABRA,  with  reliefs  of 
Erotes  ending  in  arabesques,  formerly  in  S.  Agnese,  and 
now  in  the  Vatican. 

The  ends  of  the  leaves  are  restored. 

In  Hall  38. 

Helbig,  Guide,  I,  No.  366  or  367. 

1016  TRIANGULAR  BASE  OF  A CANDELABRUM.  On 
each  side  is  represented  a flying  Cupid,  bearing  respec- 
tively the  helmet,  sword,  and  shield  of  Mars.  First  cen- 
tury, A.  D.  In  the  British  Museum. 

Restorations:  One  of  the  sphinxes  projecting  from  the 
angles,  and  the  heads  of  the  two  others;  one  of  the  rams’ 
heads  at  the  corners  of  the  base,  and  parts  of  the  other  two 
rams’  heads. 

In  Hall  38. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  HI,  No.  2509. 

1017  THE  PARIS  CAMEO,  representing  the  Emperor  Ti- 
berius, enthroned  as  Jupiter  and  surrounded  by  members 
of  his  family,  with  the  attributes  of  various  divinities. 
Of  sardonyx.  In  the  Bibliotheque  Nationale,  Paris. 
Furtwangler,  Antike  Gemmen,  pi,  LX. 

1018  THE  VIENNA  CAMEO,  known  as  the  gemma  augustea. 
It  represents  (a)  Augustus  enthroned  as  Jupiter  at  the 
side  of  the  goddess  Roma,  and  surrounded  by  other 
divinities;  (b)  Roman  soldiers  erecting  trophies.  Of 
sardonyx.  In  the  Imperial  Museum  at  Vienna. 
Furtwangler,  Antike  Gemmen,  pi.  LVI. 


THE  VILLA  AT  HERCULANEUM 


from  the  plan  drawn  in  1750-1760  BY 
CARL  WEBER,  ENGINEER  OF  THE  EXCAVATIONS. 

SHOWING  THE  SITE  OF  THE  DISCOVERY  OF  EACH  OF  THE  BRONZES  AS 
DETERMINED  BY  DE  PETPA  FROM  WEBER’S  PIAN  AN^D  ^OM  OTHER  DOCUMENTS. 
THE  TUNNELS  OR  EXCAVATED  PASSAGES  ARE  INDICATED  IN  COLOR. 

? ipyy*«>!|oWrow,o  lOO^ 


SCA1.E 


■1  / ■'  ^ 


I I "T  - 

\ rS  > - 


THE  ADAMS  COLLECTION  OE  HERCULANEUM 

BRONZES 

GIFT  OF  EDWARD  DEAN  ADAMS,  1893 
( IN  GALLERY  25) 

This  collection  consists  of  reproductions  in  bronze,  by 
Sabatino  de  Angelis,  of  the  bronze  sculptures  found 
in  the  famous  villa  at  Herculaneum,  and  now  in  the  Mu- 
seum at  Naples.  This  villa  was  discovered  in  1750, 
when  excavations  at  Herculaneum  had  been  going  on  about 
forty  years.  The  original  discovery  of  Herculaneum  seems  to 
have  been  accidental.  We  are  told  that  in  the  year  1684  a baker, 
in  digging  a well  near  the  town  of  Resina,  came  upon  Roman 
remains,  which  were  afterwards  found  to  belong  to  the  theatre 
of  Herculaneum.  Regular  excavations  were  not  begun  until 
1709  by  Prince  d’Elbeuf,  and  resumed  later,  in  1738,  by  Don 
Carlos,  afterwards  Charles  HI  of  Spain,  who  took  up  the  scheme 
with  new  enthusiasm.  The  work  was  at  first  entrusted  to  Roque 
Joachim  de  Alcubierre,  an  ignorant  and  imperious  man,  who 
proved  himself  quite  unworthy  of  his  task.  From  1750,  however, 
Karl  Weber  carried  on  the  work,  though  Alcubierre  still  exercised 
a general  control  and  continually  hampered  his  subordinates. 
Weber  took  up  the  task  in  a thoroughly  scientific  spirit,  which 
was  in  great  contrast  to  that  of  his  predecessors.  Fortunately 
the  villa  was  found  and  excavated  during  his  supervision.  He 
kept  elaborate  notes  and  descriptions  of  his  discoveries  and  also 
made  plans  of  the  excavated  portions.  A great  portion  of  Weber’s 
excellent  materials  have  been  lost,  since  they  were  not  valued 
by  his  superiors,  and  were  never  properly  published.  His  plan 
of  the  villa,  however,  and  some  notes  with  regard  to  it,  have  hap- 
pily been  preserved.  The  plan  is  here  reproduced  from  de  Pe- 


1 62  GREEK  AND  ROMAN  SCULPTURE 

tra’s  La  Villa  ercolanese.  On  it  is  shown  the  site  of  the  discovery 
of  each  of  the  bronzes,  as  determined  by  de  Petra  from  Weber’s 
plan,  and  from  other  documents. 

It  is  important  to  realize  that,  owing  to  the  great  depth  at 
which  the  finds  at  Herculaneum  were  made,  and  the  hard- 
ness of  the  lava  below  which  the  town  is  buried,  all  the  ex- 
cavations were  carried  on  entirely  underground,  by  means  of 
tunnels  which  have  since  been  closed  up.  They  are  indicated 
on  the  plan  in  pale  green.  It  is  fortunate  that  during 
the  first  eruption  of  Vesuvius  only  mud  and  water,  but  no  lava, 
covered  Herculaneum;  the  lava  which  buried  it  to  such  a depth 
came  down  during  subsequent  eruptions.  The  fact  that  they  were 
thus  packed  in  mud  accounts  for  the  good  preservation  of  the 
bronzes,  which  are  not  fused,  and  show  no  serious  damage  such 
as  would  have  resulted  from  contact  with  hot  lava.  The  ex- 
cavators came  first,  at  a depth  of  88  feet,  upon  a small  circular 
terrace  which  afterwards  proved  to  be  a belvedere  or  observa- 
tory of  the  villa  proper.  From  this  the  work  was  continued 
until  first  the  garden  and  then  the  villa  itself  were  discovered. 
The  excavation  of  the  villa  continued  from  1750  to  1761;  after 
that  it  was  abandoned,  owing  to  the  constant  emissions  of  noxious 
gases  which  rendered  work  impossible.  The  entire  length  of 
the  excavated  portion  is  about  830  feet,  but  a large  part  of  the 
domestic  quarters  of  the  house  had  to  be  left  unexplored.  In 
1765  Weber  retired,  and  was  succeeded  by  Francesco  La  Vega.  He 
was  also  a competent  man,  but  was  transferred  to  Pompeii  in  less 
than  a year,  and  from  that  time  little  work  was  done  at  Hercu- 
laneum until  1780,  when  it  ceased  altogether.  In  1828  the  open 
excavations  along  the  Vico  di  Mare  were  begun,  with  the  aim  of 
uncovering  a portion  of  the  ancient  town.  They  were  continued, 
with  various  interruptions  and  delays,  until  1885,  since  which 
time  the  site  has  remained  untouched;  but  there  is  a prospect 
that  it  will  be  further  explored  by  the  Italian  government  in  the 
near  future. 

The  bronzes  discovered  in  the  villa  constitute  the  richest  dis- 
covery of  classical  bronze  sculptures  ever  made.  The  copies 
given  by  Mr.  Adams  to  the  Museum  include  practically  the 
complete  series,  reproduced  as  accurately  as  possible  in  the 
material,  size,  and  color  of  the  originals.  The  originals  are 
probably  all  of  Roman  execution,  except  the  bust  of  Apollo 
(No.  1021),  which  may  be  an  archaic  Greek  work,  and  the  bust 
of  a youth  (No.  1037),  which  probably  dates  from  the  Flellen- 
istic  period.  With  regard  to  the  restorations  which  were  made 
on  the  bronzes  we  have  no  definite  information,  except  slight 
statements  about  the  condition  of  some  of  the  pieces  when  first 


HERCULANEUM  BRONZES  163 

found.  What  is  known  from  this  source  is  indicated  below  in 
connection  with  each  number.  The  names  attributed  to  the 
portrait-busts  on  their  discovery  were  entirely  conjectural. 
Archaeologists  of  that  day  suffered  from  the  necessity  they  felt 
themselves  under  of  giving  a definite  name  to  every  bust  or  statue, 
no  matter  how  slight  the  evidence  supporting  it.  In  the  follow- 
ing list  identification  has  been  attempted  only  where  there  was 
a conclusive  reason  for  it,  but  the  former  names  have  been  re- 
tained, since  the  sculptures  are  still  in  many  cases  popularly 
known  by  them. 


BUSTS 

1019  PORTRAIT  OF  AN  OLD  MAN,  subject  unknown; 
formerly  called  Seneca.  Late  Greek  type. 

No  restorations. 

Comparetti  e de  Petra,  La  Villa  ercolanese,  pi.  V. 

1020  PORTRAIT,  subject  unknown.  The  hair  is  arranged 
in  curious,  conventionalized  ringlets.  Both  the  date  and 
the  sex  of  this  head  are  matters  of  dispute,  which  it  has 
thus  far  been  impossible  to  determine.  The  type  of  the 
face  and  the  character  of  the  modelling  are  Greek,  but 
the  arrangement  of  the  hair  is  Roman.  The  arrangement 
of  the  hair  also  gives  the  head  a feminine  aspect,  though 
without  the  ringlets  its  lines  and  those  of  the  neck  are 
distinctly  masculine. 

The  ringlets  in  front  are  restored. 

La  Villa  ercolanese,  pi.  VI. 

1021  ARCHAIC  HEAD  OF  APOLLO.  Probably  from  a 
statue.  Style  of  the  first  quarter  of  the  fifth  century 

B.  C. 

The  eyes  are  restored. 

La  Villa  ercolanese,  pi.  VII,  i. 

1022  BUST  OF  BEARDED  DIONYSOS,  formerly  called 
Plato.  Roman  copy  of  a work  of  the  fifth  century,  B.  C. 
Slight  restorations  in  the  neck. 

La  Villa  ercolanese,  pi.  VII,  2. 

1023  BUST  OF  A YOUTH.  Roman  copy  of  a fourth-century 
work.  Lysippian  type. 

La  Villa  ercolanese,  pi.  VII,  3. 


164  GREEK  AND  ROMAN  SCULPTURE 

1024  BUST  OF  A YOUTH.  Roman  copy  of  a Polykleitan 
work  of  the  fifth  century  B.  C. 

No  restorations. 

La  Villa  er colane se,  pi.  VII,  4. 

1025  BUST  OF  AN  AMAZON.  Roman  copy  of  a Polyklei- 
tan work  of  the  fifth  century  B.  C. 

No  restorations. 

La  Villa  ercolanese,  pi.  VIII,  i. 

1026  BUST  OF  THE  DORYPHOROS.  Roman  copy  of  the 
head  of  the  famous  statue  by  Polykleitos  (fifth  century 
B.  C.).  It  is  inscribed  "AxoXXwvtoq  ’Ap^cou  ’A0Y]vaTo^ 
1x0  cYjas,  “Apollonios  the  son  of  Archios  of  Athens  made  it.'' 
No  restorations. 

La  Villa  ercolanese,  pi.  VIII,  3. 

1027  MALE  PORTRAIT-BUST,  formerly  called  Archytas. 
Late  Greek  or  Roman. 

No  restorations. 

La  Villa  ercolanese,  pi.  VIII,  2. 

1028  MALE  PORTRAIT-BUST,  called  Herakleitos.  Roman. 
Found  broken  in  many  pieces. 

La  Villa  ercolanese,  pi.  VIII,  4. 

1029  MALE  PORTRAIT-BUST,  called  Demokritos.  Roman. 
Found  in  pieces. 

La  Villa  ercolanese,  pi.  IX,  i. 

1030  PORTRAIT-BUST  OF  A YOUTH.  Late  Greek  or 
Roman. 

La  Villa  ercolanese,  pi.  IX,  2. 

1031  PORTRAIT-BUST,  called  Ptolemy  Alexander.  Late 
Greek  or  Roman. 

La  Villa  ercolanese,  pi.  IX,  3. 

1032  PORTRAIT-BUST,  called  Ptolemy  Lathyros. 

The  eyes  are  restored. 

La  Villa  ercolanese,  pi.  IX,  4. 

1033  PORTRAIT-BUST,  called  Ptolemy  I,  Soter. 

No  restorations. 

La  Villa  ercolanese,  pi.  X,  i. 


HERCULANEUM  BRONZES  1 65 

1034  PORTRAIT-BUST,  called  Ptolemy  Philadelphos. 

La  Villa  ercolanese,  pi.  X,  2. 

1035  BUST  OF  A WOMAN,  formerly  called  Berenice.  Ro- 
man copy  of  a Greek  work  of  the  fourth  century  B.  C. 
La  Villa  ercolanese,  pi.  X,  3. 

1036  BUST  OF  A WOMAN,  formerly  called  Sappho.  Roman 
copy  of  a Greek  work  of  the  fourth  century  B.  C. 
Restorations:  The  eyes  and  part  of  the  neck. 

La  Villa  ercolanese,  pi.  X,  4. 

1037  BUST  OF  A YOUTH,  originally  wreathed.  Third  cen- 
tury B.  C. 

La  Villa  ercolanese,  pi.  XI,  i. 

1038  PORTRAIT-BUST  of  Scipio  Africanus  (?).  Roman. 
Found  somewhat  broken. 

La  Villa  ercolanese,  pi.  XI,  2. 

1039  PORTRAIT-BUST,  formerly  called  Sulla.  Roman. 

La  Villa  ercolanese,  pi.  XI,  3. 

1040  PORTRAIT-BUST,  formerly  called  Sulla.  Roman. 

La  Villa  ercolanese,  pi.  XI,  4. 

1041  SMALL  BUST  OF  DEMOSTHENES.  Roman.  The 
name  is  inscribed. 

La  Villa  ercolanese,  pi.  XII,  4. 

1042  SMALL  BUST  OF  DEMOSTHENES.  Roman. 

La  Villa  ercolanese,  pi.  XII,  i. 

1043  SMALL  BUST  OE  METRODOROS.  Roman. 

La  Villa  ercolanese,  pl.  XII,  2. 

1044  SMALL  PORTRAIT-BUST  OP  A ROMAN  LADY, 
formerly  called  Agrippina. 

La  Villa  ercolanese,  pl.  XII,  3. 

1045  SMALL  PORTRAIT-BUST  OF  EPICURUS.  Roman. 
The  name  is  inscribed. 

La  Villa  ercolanese,  pl.  XII,  7. 


1 66  GREEK  AND  ROMAN  SCULPTURE 

1046  SMALL  BUST  OF  EPICURUS.  Roman. 

La  Villa  er colane se,  pi.  XII,  6. 

1047  SMALL  BUST  OF  HERMARCHOS.  Roman.  The 
name  is  inscribed. 

La  Villa  ercolanese,  pi.  XII,  8. 

1048  SMAL.L  BUST  OF  ZENO.  Roman.  The  name  is 
inscribed. 

La  Villa  ercolanese,  pi.  XII,  9. 


STATUES 

1049  DRUNKEN  SATYR.  Roman  copy  of  a Hellenistic 
work.  When  found,  the  right  hand  and  left  arm  were 
detached. 

La  Villa  ercolanese,  pi.  XIII,  i. 

1050  HERMES  RESTING.  Roman  copy  of  a Greek  work 
of  the  fourth  century  B.  C.  When  found,  three  of  the 
wings  on  the  ankles  were  missing,  the  head  was  broken 
into  several  pieces,  one  arm  was  broken,  and  one  thigh 
was  cracked. 

La  Villa  ercolanese,  pi.  XIII,  2. 

IO51-IO55  FIVE  STATUES  OF  DANCERS  (?).  Roman 
copies  of  Greek  works  of  the  middle  of  the  fifth  century 

B.  C. 

La  Villa  ercolanese,  pi.  XIV,  i,  2,  3,  5,  6. 

1056  YOUNG  GIRL  in  a praying  (?)  attitude.  Roman 
copy  of  a Greek  work  of  the  middle  of  the  fifth  century 
B.  C.  When  found  the  head  was  broken  off  and  one  hand 
was  missing. 

La  Villa  ercolanese,  pi.  XIV,  4. 

1057  SATYR  RESTING.  Roman  copy  of  a Hellenistic 
work.  The  head  and  right  hand  were  found  separately, 
the  latter  in  two  pieces. 

La  Villa  ercolanese,  pi.  XV,  i. 

1058-1039  TWO  YOUNG  ATHLETES  (wrestlers?).  Ro- 
man copies  of  Greek  statues  of  the  fourth  century  B.  C. 

La  Villa  ercolanese,  pis.  XV,  2 and  3. 


HERCULANEUM  BRONZES 


167 


STATUETTES 

1060-1064  FIVE  CUPIDS  OR  GENII.  Roman. 
La  Villa  ercolanese,  pi.  XVI. 

1065-1068  EOUR  BEARDED  SATYRS.  Roman. 
La  Villa  ercolanese,  pi.  XVI. 

1069  YOUNG  SATYR  leaping,  with  a thyrsos. 

La  Villa  ercolanese,  pi.  XVI,  6. 


STATUETTES  AND  OTHER  SMALL  OBJECTS 

ARCHAIC  PERIOD 
(in  case  I,  GALLERY  2l) 

1070-1072  THREE  PRIMITIVE  FEMALE  STATUETTES. 
Of  marble.  In  the  Albertinum,  Dresden. 

Fiedler,  Reise  durch  Griechenland,  II,  pi.  5,  fig.  i,  2,  3a. 

1073  ZEUS,  standing.  Archaic  Greek  bronze  statuette,  found 
at  Olympia,  and  now  in  the  Museum  there. 

Olympia,  IV,  Die  Bron^en,  pi.  VII,  40. 

1074  ZEUS.  Archaic  Greek  bronze  statuette  in  Arolsen. 
Gadechens,  Die  Antiken  des  Museums  pi  Arolsen,  p.  34,  13. 

1075  ZEUS  hurling  a thunderbolt.  Archaic  Greek  bronze  statu- 
ette. Found  at  Olympia,  and  now  in  the  Museum  there. 
Olympia,  IV,  Die  Bronpn,  pi.  VII,  45. 

1076  APOLLO.  Archaic  Greek  bronze  statuette.  Found  at 
Olympia,  and  now  in  the  Museum  there. 

Olympia,  IV,  Die  Bronpn,  pi.  VII,  48. 

1077  APOLLO.  Archaic  Greek  bronze  statuette.  Found  at 
Olympia,  and  now  in  the  Museum  there. 

Olympia,  IV,  Die  Bronpn,  pi.  VIII,  49. 

1078  APOLLO.  Bronze  statuette.  Archaic  Greek;  sixth  cen- 

tury B.  C.  The  inscription,  scarcely  visible  on  the  cast, 
reads:  AecvayopTQq  p.’  dv£0Yj/,£v  £XY]66Xw  "AxoXXwvt, 

“Deinagores  dedicated  me  to  far-darting  Apollo.’"  Found 
at  Naxos,  and  now  in  the  Berlin  Museum. 

M.  Frankel,  Archdologische  Zeitung,  1879,  p.  84  and  pi.  7. 


STATUETTES  1 69 

1079  APOLLO.  Archaic  Greek  bronze  statuette.  From 
Greece.  In  the  Berlin  Museum. 

Overbeck,  Kunsimythologie,  III,  Apollon,  p.  35,  fig.  7. 

1080  APOLLO.  Archaic  Greek  bronze  statuette.  Perhaps 
a copy  of  the  Apollo  Philesios,  of  .Miletos,  by  Kanachos. 
In  the  British  Museum. 

H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  209,  pi.  I. 

1081  HERMES  KRIOPHOROS  (carrying  a ram).  Archaic 
Greek  bronze  statuette.  Found  at  Capua,  and  now  in  the 
Berlin  Museum. 

Monumenti  delV  Instituto,  XI,  pi.  VI,  3,  3a. 

1082  HERMES  KRIOPHOROS  (carrying  a ram).  Archaic 
Greek  bronze  statuette.  Found  in  Crete,  and  now  in  the 
Berlin  Museum. 

Milchhofer,  Annali  delV  Instituto,  1880,  p.  213,  pi.  S. 

1083  HERMES  KRIOPHOROS  (carrying  a ram).  Archaic 
Greek  bronze  statuette.  In  the  Berlin  Museum. 
Friederichs,  Kleinere  Kunst  und  Industrie,  No.  1823. 

1084  ATHENA.  Archaic  Greek  bronze  statuette.  From  the 
Akropolis,  Athens,  and  now  in  the  Berlin  Museum. 
Archdologische  Zeitung,  1873,  pi.  10. 

1085  ATHENA.  Etruscan  bronze  statuette.  In  Cassel. 
Friederichs-Wolters,  No.  205. 

1086  ATHENA.  Archaic  Greek  bronze  statuette.  Found  in 
the  debris  of  the  Parthenon,  and  now  in  the  Oppermann 
Collection,  Paris. 

Friederichs-Wolters,  No.  108. 

1087  ARTEMIS.  Archaic  Greek  bronze  statuette.  Found 
at  Olympia,  and  now  in  the  Museum  there. 

Olympia,  IV,  Die  Bron^en,  pi.  VII,  55. 

1088  APHRODITE.  Archaic  Greek  bronze  statuette.  Found 
at  Olympia,  and  now  in  the  Museum  there. 

Olympia,  IV,  Die  Bron^en,  pi.  VII,  74. 


170  GREEK  AND  ROMAN  SCULPTURE 

1089  ARCHAIC  ETRUSCAN  GODDESS,  inscribed  on  the 
back  PHLEXRU.  Bronze  statuette  from  Perugia.  In 
the  Berlin  Museum. 

Friederichs,  Kleiner e Kunst  und  Industrie,  No.  2155. 

1090  WINGED  FIGURE.  Bronze  statuette  which  formed 
part  of  the  decorations  of  an  archaic  Etruscan  chariot 
discovered  in  Perugia  in  1812.  The  fragments  of  this 
chariot  are  now  scattered  among  the  Museums  of 
Perugia,  Munich,  London,  and  Berlin.  This  statuette  is  in 
the  Berlin  Museum. 

Friederichs,  Kleinere  Kunst  und  Industrie,  No.  2153. 

1091  FIERAKLES.  Archaic  Greek  bronze  statuette  in  Cas- 
sel. 

Friederichs-Wolters,  No.  235. 

1092  HERAKLES  AND  THE  NEMEAN  LION.  Small 
bronze  group.  Archaic  Greek.  In  Arolsen. 

Gadechens,  Die  Antiken  des  Museums  lu  Arolsen,  No.  228. 

1093  YOUTH  RECLINING.  Archaic  Greek  bronze  statuette. 
Found  at  Olympia,  and  now  in  the  Museum  there. 
Olympia,  IV,  Die  Bronien,  pi.  VII,  76. 

1094  WARRIOR.  Archaic  Greek  bronze  statuette.  Found 
at  Olympia,  and  now  in  the  Museum  there. 

Olympia,  IV,  Die  Bronien,  pi.  VII,  42. 

1095  ATHLETE.  Archaic  Greek  bronze  statuette  in  Cassel. 
Friederichs-Wolters,  No.  234. 

1096  WARRIOR.  Archaic  Greek  bronze  statuette.  Found  at 
Olympia,  and  now  in  the  Museum  there. 

Olympia,  IV,  Die  Bronien,  pi.  VII,  41. 

1097  ETRUSCAN  WARRIOR.  Bronze  statuette  in  the 
Museo  Archeologico,  Florence. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1611. 

1098  WARRIOR.  Bronze  statuette  of  the  first  half  of  the 
fifth  century  B.  C.  Found  at  Dodona,  and  now  in  the 
Berlin  Museum. 

Engelmann,  Archdologische  Zeitung,  1882,  pi.  I,  p.  23. 


STATUETTES 


I7I 

1099  DISKOBOLOS  (disk-thrower).  Archaic  Greek  bronze 
statuette.  Found  at  Olympia,  and  now  in  the  Museum 
there. 

Olympia,  IV,  Die  Bron^en,  pi.  XXVII,  616. 

I 100  CHARIOTEER.  Bronze  statuette  of  the  first  half  of 
the  fifth  century  B.  C.  In  the  Museum  at  Tubingen. 
Eriederichs-Wolters,  No.  90. 

IIOI  KANEPHOROS  (basket-bearer).  Bronze  statuette. 
About  500  B.  C.  Inscribed:  TaOdcva  Xapp.uXtoa 

0£%aT«v.  “Phillo,  the  daughter  of  Charmylides,  dedicated 
it  as  a tithe  to  Athena.'’  Erom  Paestum.  In  the  Berlin 
Museum. 

Restorations:  The  basket,  and  the  column  below  the 
capital. 

Curtius,  Archdologische  Zeitung,  1880,  pi.  VI,  p.  27. 

I 102  FEMALE  EIGURE,  which  served  as  a mirror-support. 
Bronze  statuette  of  the  middle  of  the  fifth  century  B.  C. 
Found  near  Olympia,  in  the  valley  of  the  Kladeos,  and 
now  in  the  Olympia  Museum. 

Olympia,  IV,  Die  Bronien,  p.  27. 

I 103  GRIFFIN’S  HEAD.  Of  bronze.  Probably  the  handle 
of  a large  bowl.  Archaic  Greek.  Found  at  Olympia,  and 
now  in  the  Museum  there. 

Olympia,  IV,  Die  Bronien,  pi.  XLVH,  806,  and  text,  p.  122. 

I 104  HANDLE  OF  A BRONZE  JUG,  in  the  form  of  a nude 
youth,  holding  a lion  on  each  shoulder.  Sixth  century 
B.  C.  In  the  Louvre. 


LATER  PERIODS,  CLASSIFIED  ACCORDING  TO  TYPES 
(in  case  2,  GALLERY  24) 

I 105  ZEUS,  standing.  Bronze  statuette  in  the  Antiquarium, 
Munich. 

Baumeister,  Denkmdler,  HI,  fig.  1541. 

I 106  ZEUS,  seated.  Bronze  statuette.  Eormerly  in  the 
Denon  and  Pourtales  Collections. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1578. 


172  GREEK  AND  ROMAN  SCULPTURE 

I 107  ZEUS.  Bronze  statuette  in  the  Louvre. 

Bronies  antiques  du  Louvre,  No.  8. 

I 108  ZEUS.  Bronze  statuette  in  the  Louvre. 

Bronzes  antiques  du  Louvre,  No.  6. 

I 109  ZEUS  OR  POSEIDON.  Bronze  statuette. 

Unidentified. 

I I 10  POSEIDON  (?).  Bronze  statuette,  probably  of  the 
school  of  Lysippos.  From  Paramythia  in  Epeiros.  In 
the  British  Museum. 

H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  274. 

I I I I SERAPIS.  Small  bronze  head  in  Cassel. 
Friederichs-Wolters,  No.  1514. 

I I 12  ATHENA.  Bronze  statuette  in  the  Bibliotheque  Nation- 
ale,  Paris  (?). 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1582. 

I I 13  ATHENA.  Bronze  statuette  in  the  Museum  of  Naples. 
Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2606. 

I I 14  APOLLO  stringing  his  bow.  Bronze  statuette.  Found  at 
Paramythia,  Epeiros,  and  now  in  the  British  Museum. 

H.  B.  Walters,  Catalogue  of  Bronies  in  the  British  Museum, 
No.  272,  pi.  V. 

I I I 5 APOLLO,  in  an  attitude  similar  to  that  of  the  Apollo 
Sauroktonos  (No.  700).  Bronze  statuette  in  Arolsen. 
Gadechens,  Die  Antiken  des  Museums  lu  Arolsen,  p.  45,  45. 

I I 16  APOLLO.  Bronze  statuette  in  the  British  Museum. 
The  column  is  modern. 

H.  B.  Walters,  Catalogue  of  Bronies  in  the  British  Museum, 
No.  993. 

! I 17  ARES.  Bronze  statuette  in  the  Museum  of  the  Louvre. 
Bronies  antiques  du  Louvre,  No.  97. 


STATUETTES 


173 

I I 18  HERMES.  A later  modification  of  the  type  of  the 

Hermes  from  Andros.  Bronze  statuette  in  the  Biblio- 
theque  Nationale,  Paris. 

Babelon  et  Blanchet,  Bronzes  antiques  de  la  Bibliotheque 
Nationale,  No.  316. 

I I 19  HERMES.  Bronze  statuette  in  the  Museum  of  the 

Louvre. 

Bronzes  antiques  du  Louvre,  No.  219. 

1120  HERMES,  seated.  Bronze  statuette  in  Naples. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1043. 

1121  HERMES.  Bronze  statuette  in  the  Museum  of  the 

Louvre. 

Bronzes  antiques  du  Louvre,  No.  221. 

I 122  HERMES  WITH  THE  INFANT  DIONYSOS.  A modi- 
fied replica  of  the  statue  by  Praxiteles.  Bronze  statuette 
in  the  Museum  of  the  Louvre. 

C.  Waldstein,  Journal  of  Hellenic  Studies,  HI,  1882,  p.  107. 

1123  HERMES  resting.  Bronze  statuette  of  Lysippian  type. 
In  the  Berlin  Museum. 

Friederichs,  Kleiner e Kunst  und  Industrie  im  Altertum, 
No.  1833. 

1124  HERMES.  Bronze  statuette,  perhaps  derived  from  an 
original  by  Lysippos.  Found  at  Pierre-en-Lueset,  near 
Huis,  France,  and  now  in  the  British  Museum. 

H.  B.  Walters,  Catalogue  of  Bronzes  m the  British  Museum, 
No.  825,  pi.  XXIV. 


(in  case  3,  GALLERY  24) 

1125  NIKE  OR  APHRODITE.  Bronze  statuette  in  the 
British  Museum. 

H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  1559. 


174  GREEK  AND  ROMAN  SCULPTURE 

1126  DIONE  OR  APHRODITE.  Bronze  statuette  from 
Paramythia,  Epeiros.  In  the  British  Museum. 

H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  279,  pi.  VI. 

1127  APHRODITE  adorning  herself.  Bronze  statuette  from 
Trier.  In  the  Berlin  Museum. 

Miscellanien-Inventar  des  Berliner  Antiquariums,  No.  7032. 

1128  APHRODITE.  Bronze  statuette  from  Alexandria.  In 
a private  collection  in  Berlin. 

Archdologische  Zeitung,  1870,  pi.  38,  p.  91. 

1129  APHRODITE.  Bronze  statuette  in  the  British  Museum. 
H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  1 103. 

1130  APHRODITE  arranging  her  hair.  Bronze  statuette 
in  the  Louvre. 

Bronzes  antiques  du  Louvre,  No.  140. 

1 13  I APHRODITE.  Bronze  statuette  in  the  Louvre. 

Bronzes  antiques  du  Louvre,  No.  138. 

1132  APHRODITE  unfastening  her  left  sandal.  Bronze 

statuette  from  Paramythia.  In  the  British  Museum. 

H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  280,  pi.  VH. 

1133  APHRODITE  unfastening  her  left  sandal.  Bronze 

statuette,  found  at  Herculaneum,  and  now  in  the  Mu- 
seum of  Naples. 

Friederichs-Wolters,  No.  1477. 

1134  APHRODITE  unfastening  her  left  sandal.  Bronze 

statuette  in  the  Antiquarium  at  Munich. 

1135  APHRODITE  arranging  her  hair.  Bronze  statuette 
in  the  Louvre. 

Bronzes  antiques  du  Louvre,  No.  145. 

1136  APHRODITE  drying  her  hair.  Bronze  statuette  at 
Arolsen. 

Gadechens,  Die  Antiken  des  Museums  lu  Arolsen,  p.  53,  76. 


STATUETTES  I75 

1137  APHRODITE  arranging  her  hair.  Bronze  statuette 
at  Arolsen. 

Gadechens,  Die  Antiken  des  Museums  lu  Arolsen,  No.  78. 

1138  APHRODITE  drying  herself.  Bronze  statuette  at  Arol- 
sen. 

Gadechens,  Die  Antiken  des  Museums  lu  Arolsen,  No.  66. 

1139  APHRODITE  girding  herself.  Fragmentary  bronze 
statuette  in  Florence. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1834. 

1140  SMALL  MARBLE  HEAD  OF  APHRODITE.  In  the 
possession  of  Alfred  von  Sallet,  in  Berlin. 
Friederichs-Wolters,  No.  1465. 

I 141  HERAKLES.  Bronze  statuette  in  the  British  Museum. 
H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  1298. 

1142  HERAKLES.  Bronze  statuette  in  the  Louvre. 

Bronzes  antiques  du  Louvre,  No.  350. 

1 143  YOUNG  HERAKLES.  Bronze  statuette  in  the  Museum 
of  Naples. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2610. 

1144  HERAKLES  wreathed  with  poplar.  Bronze  statuette 
in  the  Museum  of  the  Louvre. 

Bronzes  antiques  du  Louvre,  No.  353. 

1 145  HERAKLES  resting.  Bronze  statuette  of  Lysippian 
style,  in  the  Museum  of  Lyons. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1 586. 

I 146  THE  INFANT  HERAKLES  with  a serpent.  Bronze 
statuette  in  the  Berlin  Museum. 

Friederichs,  Kleinere  Kunst  und  Industrie  im  Altertum, 
No.  1849. 

1147  ONE  OF  THE  DIOS KOUROI,  probably  Kastor.  Bronze 
statuette  from  Paramythia,  Epeiros.  In  the  British 
Museum. 

H.  B.  Walters,  Catalogue  of  Bronzes  in  the  British  Museum, 
No.  277,  pi.  VI. 


iy6  GREEK  AND  ROMAN  SCULPTURE 

1 148  A SATYR,  or  a young  Pan,  in  the  attitude  of  the  Dory- 
phoros  of  Polykleitos.  Bronze  statuette  of  the  Hellenis- 
tic period,  in  the  Bibliotheque  Nationale,  Paris. 

Babelon  et  Blanchet,  Bronzes  antiques  de  la  Bibliotheque 
Nationale,  No.  428. 

1149  SATYR.  Bronze  statuette  in  the  Museum  of  the  Louvre. 
Louvre,  Sale  Catalogue  of  Casts,  No.  157. 

I 150  SATYR.  Bronze  statuette  in  the  Berlin  Museum. 

Friederichs,  Kleinere  Kunstund  Industrie  im  Altertum,  No. 

1835. 

1151  SATYR.  Bronze  statuette  from  Pergamon,  of  the  Hel- 
lenistic period.  In  the  Berlin  Museum. 

Furtwangler,  Der  Satyr  aiis  Pergamon,  1880. 

1152  SATYR  starting  back.  Bronze  statuette  in  the  British 
Museum. 

H.  B.  Walters,  Catalogue  oj  Bronzes  in  the  British  Museum, 
No.  1388. 

1153  SATYR  drawing  a thorn  from  his  foot.  Bronze  statuette 
in  the  Antiquarium  at  Munich. 


(in  case  4,  GALLERY  27) 

1154  KEPHALOS  sitting  on  a rock.  Bronze  statuette  of  the 
fourth  century  B.  C.  In  the  Bibliotheque  Nationale, 
Paris. 

Babelon  et  Blanchet,  Bronzes  antiques  de  la  Bibliotheque 
Nationale,  No.  802. 

1155  DISKOBOLOS,  after  Myron.  The  face  is  of  a later  type. 
Bronze  statuette  in  the  Antiquarium  at  Munich. 

1 I 56  DANCER.  Bronze  statuette  of  the  Alexandrine  period. 
In  the  Musee  de  Saint-Germain-en-Laye. 

S.  Reinach,  Bronzes  figures  du  Musee  de  Saint-Germain- 
en-Laye,  No.  191. 

1157  ATHLETES  WRESTLING.  Small  bronze  group  in 
the  Morel  d’Arleux  Collection,  Paris. 


STATUETTES  1 77 

S.  Reinach,  Bronies  figures  du  Musee  de  Saint-Germain- 
en-Laye,  No.  124. 

1158  YOUNG  ATHLETE.  Bronze  statuette  in  the  Berlin 
Museum. 

Eriederichs,  Kleiner e Kunst  und  Industrie  im  AUertum, 
No.  1852. 

I I 59  WARRIOR.  Bronze  statuette  of  the  Hellenistic  period. 
Eound  at  Vienne,  France,  and  now  in  the  Bibliotheque 
Nationale,  Paris. 

Babelon  et  Blanchet,  Bronies  antiques  de  la  Bibliotheque 
Nationale,  No.  815. 

I 160  ROMAN  PRIEST.  Bronze  statuette  in  the  Bibliotheque 
Nationale,  Paris. 

Babelon  et  Blanchet,  Bronies  antiques  de  la  Bibliotheque 
Nationale,  No.  869. 

I161  SMALL  MARBLE  HEAD  OF  A GIRL.  Found  in  a 
tomb  near  the  village  of  Karanta,  and  now  in  the  Museum 
of  Thebes. 

Eriederichs- Wolters,  No.  1282. 

I 162  CHILD.  Bronze  statuette  of  the  Roman  period.  In 
the  Museum  of  the  Louvre(?). 

Louvre,  Sale  Catalogue  of  Casts,  No.  156. 

1163  SLEEPING  BOY.  Bronze  statuette  from  Sparta.  In 
a private  collection  at  Dortmund. 

Dressel  und  Milchhoefer,  Athenische  Mitteilungen,  II, 
1877,  p.  361,  No.  139. 

1164  TRAGIC  ACTOR.  Bronze  statuette  of  the  Roman 
period.  In  the  Bibliotheque  Nationale,  Paris. 

Babelon  et  Blanchet,  Bronies  antiques  de  la  Bibliotheque 
Nationale,  No.  979. 

1165  SEATED  DOG.  Terracotta  statuette  from  Asia  Minor. 
In  the  Berlin  Museum. 

Inventarium  der  Terrakotten  des  Berliner  Antiquariums, 
No.  6317. 


178  GREEK  AND  ROMAN  SCULPTURE 

1166  BULL.  Bronze  statuette  in  Arolsen. 

Gadechens,  Die  Antiken  des  Museums  lu  Arolsen,  No.  494. 

1167  ONYX  VASE,  known  as  the  Mantuan  Vase.  The 
reliefs  refer  to  the  cult  of  Ceres.  Roman,  first  century 
A.  D.  In  the  Museum  at  Brunswick,  Germany. 
Furtwangler,  Antike  Gemmen,  III,  p.  339. 

1168  THE  “PORTLAND  VASE.’’  The  fibres  of  the  relief 
are  cut  in  cameo  style  from  a thin  coating  of  white  biscuit 
laid  over  the  dark  blue  glass  of  the  vase  itself.  No  satis- 
factory explanation  of  the  subject  has  been  reached.  It 
is  sometimes  referred  to  as  Peleus  and  Thetis.  The  vase, 
which  dates  from  the  Alexandrine  period,  or  the  beginning 
of  the  Roman  Empire,  was  found  in  a sarcophagus  of 
the  third  century  A.  D.,  in  a tomb  about  three  miles  from 
Rome,  on  the  ancient  road  to  Tusculum.  It  was  first 
placed  in  the  Barberini  palace,  then  passed  into  the  posses- 
sion of  Sir  William  Hamilton,  who  sold  it  to  the  Duchess 
of  Portland.  Since  1810  it  has  been  in  the  British  Museum. 
The  vase  was  smashed  to  fragments  in  1845,  but  has  been 
so  successfully  repaired  that  the  damage  is  scarcely  per- 
ceptible. 

Josiah  Wedgwood,  Description  of  the  Portland  Vase. 

1169  SARDONYX  VASE,  with  reliefs  representing  the  lustra- 
tion of  a new-born  prince.  Roman,  Augustan  period. 
In  the  Berlin  Museum. 

Furtwangler,  Antike  Gemmen,  HI,  p.  337. 

1170  GOLD  BRACELET,  in  the  form  of  a serpent.  From 
Pedescia.  In  the  Berlin  Museum. 

Miscellaneen-lnventar  des  Berliner  Antiquariums,  No.  7043. 

1171  BRONZE  LAMP,  in  the  form  of  a ship.  Found  in  the 
Erechtheion.  In  Athens. 

’E(pY)p,£pt(;  ' 1862,  p.  91. 

1172  BOWL,  with  scenes  in  relief.  Unidentified. 

1173  BRONZE  LAMP-STAND,  in  the  form  of  a Silenos.  In 
the  Museum  of  Naples. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1802. 


STATUETTES  1 79 

I 174  BRONZE  LAMP-STAND,  in  the  form  of  a seated  Silenos. 
In  the  Museum  of  Naples. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1801. 


ARCHITECTURE 

ARCHAIC  GREEK  AND  ETRUSCAN 

(in  hall  38) 

I 175  CINERARY  URN,  of  limestone,  in  the  shape  of  a house. 
Etruscan.  From  the  so-called  tomb  of  Porsena  near 
Chiusi.  The  cinerary  urns  are  interesting  as  illustrating 
the  primitive  form  of  dwelling  in  Italy.  In  the  Berlin 
Museum. 

Berlin  Museum,  Beschreihung  der  antiken  Skulpturen,  No. 
1242. 

I 176  CINERARY  URN,  of  limestone,  in  the  shape  of  a primi- 
tive hut.  Italic.  From  Monte  Albano,  and  now  in  the 
Berlin  Museum. 

Furtwangler,  Berliner  V asensammlung,  No.  1335. 

I 177  CINERARY  URN,  in  the  form  of  a hut.  Italic. 

I 178  HALF  OF  A DORIC  CAPITAL,  from  the  temple  of  Assos 
in  Mysia,  Asia  Minor.  Greek,  sixth  century  B.  C.  Now 
in  the  Museum  of  the  Louvre. 

I 1 79  HALF  OF  A DORIC  CAPITAL,  from  temple  D at  Selinus, 
in  Sicily.  Greek,  sixth  century,  B.  C. 

I 180  HALF  OF  AN  ATTIC-IONIC  CAPITAL.  Sixth  century 
B.  C.  Found  in  the  bed  of  the  Ilissos,  and  now  in  Athens. 
Inwood,  Erechtheion,  pis.  24  and  25. 

I 181  LION’S  HEAD,  from  the  cornice  of  the  archaic  temple  of 
Artemis  at  Ephesos.  Greek,  sixth  century  B.  C.  In 
the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  I,  No.  46. 


CORNICE 


THE  DORIC  AND  IONIC  ORDERS  COMPARED 


'm 


ARCHAIC  GREEK  AND  ETRUSCAN  l8l 

1 182  TERRACOTTA  ANTEFIX,  in  the  form  of  a Gorgon’s  head. 
Greek,  sixth  century  B.  C.  Found  at  Olympia,  but  it 
is  not  certain  to  which  building  it  belonged.  In  the 
Olympia  Museum. 

Olympia,  III,  Die  Dildwerke,  pi.  VIII,  8. 

I 183  TERRACOTTA  ANTEFIX,  in  the  form  of  a Gorgon's  head, 
from  the  Hekatompedon  on  the  Akropolis,  Athens.  Greek, 
latter  part  of  the  sixth  century  B.  C.  Found  south  of 
the  Parthenon,  and  now  in  the  Akropolis  Museum,  Athens. 
Michaelis,  Der  Parthenon,  pi.  II,  7. 

1184  CORNICE  FROM  AN  ALTAR  erected  by  Peisistratos, 
grandson  of  the  tyrant  Peisistratos,  between  525  and  510 
B.  C.  The  inscription,  part  of  which  is  now  lost,  is  re- 
ferred to  by  Thucydides  (VI,  54),  who  quotes  it  as  follows: 
MvYj[JLa  Tooe  lletaccjTpaToq  'Ixxtou  uibq  6y]X£V 

'AxoXXwvoq  IluOtou  £v  “Peisistratos,  the  son  of 

Hippias,  erected  this  as  a memorial  of  his  archonship  in  the 
sanctuary  of  the  Pythian  Apollo.”  Found  near  the  temple 
of  the  Olympian  Zeus  on  the  banks  of  the  Ilissos, 
Athens,  and  now  in  the  National  Museum  there. 

Corpus  Inscriptionum  Atticarum,  IV,  3730;  Friederichs- 
Wolters,  No.  126. 

I 185  FRAGMENT  OF  A LACUNAR  FROM  A CEILING  (?), 
with  two  panels  in  low  relief  representing  (a)  a horse  gal- 
loping to  the  right,  (b)  a griffin  seizing  a stag.  Of  green 
limestone  (?).  In  the  British  Museum. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  I,  No.  215. 

I 186  FRAGMENT  OF  A LACUNAR  (?),  similar  to  the  preced- 
ing. The  upper  panel  is  wanting.  Of  green  limestone  (?). 
In  the  British  Museum. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  I,  No.  216. 


GREEK,  FIFTH  AND  FOURTH  CENTURIES  B.  C. 

I 187  TERRACOTTA  WATERSPOUT  in  the  form  of  a lion’s 
head.  On  this  cast  the  colors  of  the  original  are  repro- 
duced in  restored  form.  First  half  of  the  fifth  century  B.  C. 


1 82  GREEK  AND  ROMAN  ARCHITECTURE 


From  Metapontum,  and  now  in  the  Bibliotheque  Nationale, 
Paris. 

Perrot  et  Chipiez,  Histoire  de  V Art,  VII,  pi.  IX. 

1188-1194  SEVEN  WATERSPOUTS  in  the  form  of  lions’ 
heads,  from  the  cyma  of  the  temple  of  Zeus  at  Olympia.  Of 
these  Nos.  1 188-1 190  date  from  the  erection  of  the  temple 
(about  460  B.  C.).  Nos.  1191-1194  are  later  imitations. 
In  the  Museum  of  Olympia. 

Olympia,  III,  Die  Bildwerke,  pi.  XVII,  4,  5,  and  text. 

1195  AKROTERION  of  a building.  Middle  of  the  fifth  cen- 
tury B.  C.  From  Sunion,  and  now  in  the  National  Mu- 
seum, Athens. 

Furtwangler,  Aegina,  p.  293,  fig.  248. 


1 196-1202 

DETAILS  FROM  THE  PARTHENON  (447-438  B.  C.). 

For  an  account  of  the  Parthenon  see  pages  6 iff.;  for  the  model  of 

the  building,  restored,  see  the  frontispiece  and  No.  476;  and  for 

the  sculptures,  pp.  64ff. 

I 196  UPPER  CORNER,  restored.  This  is  a full-size  model, 
and  includes  the  left  end  of  one  of  the  pediments,  with  the 
cornice,  mutules,  triglyph-frieze,  architrave,  and  the  upper 
parts  of  two  columns.  The  four  metopes  represented  are 
not  those  actually  on  any  of  the  corners  of  the  building, 
but  were  selected  because  of  their  good  state  of  preserva- 
tion. 

(Temporarily  retired  for  lack  of  space.) 

1 1 97- 1 200  Fragments  of  the  Akroteria  which  surmounted 
the  two  pediments.  See  frontispiece. 

Michaelis,  Der  Parthenon,  pi.  2,  10. 

1201  Lion’s  Head  from  the  cyma.  Still  in  situ  on  one  of  the 
angles  of  the  pediment.  See  frontispiece. 

1202  Antefix.  These  antefixes  were  placed  in  a row  along  the 
edges  of  the  roof,  at  the  sides  of  the  building.  See  frontis- 
piece. 

Michaelis,  Der  Parthenon,  pi.  2,  8. 


GREEK  AND  ROMAN  ARCHITECTURE  183 

1203-1225 

DETAILS  FROM  THE  ERECHTHEION. 

The  Erechtheion  was  probably  begun  after  the  completion  of  the 

Parthenon  (438  B.  C.),  since  the  famous  inscription  recording  the 

report  of  the  commissioners  appointed  to  examine  its  condition 

in  the  year  409  B.  C.  shows  that  it  was  then  incomplete. 

1203  THE  PORCH  OF  THE  MAIDENS,  on  the  south  side  of 
the  building.  This  reproduction  of  the  porch  gives  only 
the  general  effect  of  the  original,  which  is  about  twice 
as  deep  and  has  six  figures  of  maidens,  two  at  the  sides 
in  addition  to  the  four  in  front.  In  the  cast  the  sec- 
ond figure  on  the  right  is  a duplicate  of  the  one  on  the 
corner,  but  in  the  original  there  are  differences  between 
the  two.  Moreover,  the  coffers  are  incorrectly  repro- 
duced, for  while  the  originals  vary  slightly  in  size,  there  are 
no  such  marked  differences  between  them  as  are  here  rep- 
resented. 

1204  Section  of  the  Architrave  of  the  northern  portico. 

1205  Anta  Capital  and  Portion  of  the  Frieze  from  the 
northern  portico. 

1206  Corner  Capital  from  the  northern  portico. 

1207  Section  of  the  Base  of  an  Anta  of  the  northern  portico. 

1208  Upper  Left  Corner  of  the  Door  in  the  northern 
portico,  including  the  console  and  cornice. 

1209  Part  of  the  Cornice  of  the  Door  in  the  northern  por- 
tico. 

1210  Egg-and-Dart  Moulding  from  the  inner  side  of  the  archi- 
trave of  the  northern  portico. 

1 2 1 1 Egg-and-Dart  Moulding  from  the  beams  in  the  northern 
portico. 

1212  Coffer  from  the  Ceiling  of  the  northern  portico. 

1213  Section  of  the  Base  of  the  north  wall. 


184  GREEK  AND  ROMAN  ARCHITECTURE 

1214  Section  of  the  Entablature  of  the  Porch  of  the  Maidens. 

1215  Detail  from  the  Entablature  of  the  Porch  of  the 
Maidens. 

1216  Egg-and-Dart  Moulding  from  the  inner  side  of  the  archi- 
trave of  the  Porch  of  the  Maidens. 

1217  Egg-and-Dart  Moulding  from  the  base  of  the  Porch  of 
the  Maidens. 

1218  Coffer  from  the  Ceiling  of  the  Porch  of  the  Maidens. 

1219  Corner  of  an  Anta  from  the  Porch  of  the  Maidens. 

1220  Engaged  Column  from  the  west  wall. 

1221  Capital  of  an  Anta  of  the  eastern  portico. 

1222  Capital  of  a Column  of  the  eastern  portico. 

1223  Section  of  the  Base  of  a column  from  the  eastern  por- 
tico. 

1224  Detail  FROM  the  “Honeysuckle  Ornament’"  (palmette- 
and-lotos  frieze)  which  extended  along  the  four  walls 
of  the  building. 

1225  Detail  from  the  Architrave  of  the  main  building. 

For  large  scale  drawings  of  details  from  the  Erechtheion 
see  H.  In  wood.  The  Erechtheion, ; von  Quast,  Das  Erech- 
theion {ii  Athen,  1840,  (a  German  reprint  of  Inwood’s 
work  with  additions).  For  an  account  of  the  building  see 
Frazer’s  Pausanias,  II,  pp.  330  ff.  and  the  references  there 
quoted  (p.  338). 


1226  LESBIAN  (WATER-LEAF)  MOULDING.  Of  terra- 
cotta. Middle  of  the  fifth  century  B.  C.  Found  near  the 
Bouleuterion  at  Olympia,  and  now  in  the  Museum  there. 
Olympia,  II,  Die  Baudenkmdler,  pi.  CXX,  3. 

1227  FRAGMENT  OF  THE  CAPITAL  of  one  of  the  Ionic  col- 
umns from  the  interior  of  the  cella  of  the  temple  of  Apollo  at 
Phigaleia.  About  430  B.  C. 


GREEK  AND  ROMAN  ARCHITECTURE  1 85 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  I,  No.  508. 

1228  HALF  OF  .AN  IONIC  CAPITAL  from  the  temple  of  Nike 
Apteros  on  the  Akropolis.  Second  half  of  the  fifth  century 

B.  C. 

1229  VOLUTE  OF  AN  IONIC  CAPITAL.  The  building  to 
which  it  belonged  is  not  known.  It  was  found  near  the  site 
of  the  temple  of  Nike  Apteros,  and  was  formerly  incorrectly 
described  as  belonging  to  this  temple.  Now  in  the  British 
Museum. 

A.  H.  Smith,  Catalogue  oj  Greek  Sculpture  in  the  British 
Museum,  1,  444. 

1230  PORTION  OF  THE  CYMA  MOULDING  of  the  Heraion, 
near  .Argos.  About  420  B.  C.  In  the  National  Museum, 
Athens. 

A r give  Heraeum,  p.  124,  fig.  61. 

1231  SECTION  OF  A DORIC  CAPITAL  AND  ANTA  COM- 
BINED. From  the  gateway  of  the  Pelopion  at  Olympia. 
End  of  the  fifth  or  beginning  of  the  fourth  century  B.  C. 
Olympia,  I,  Atlas,  pi.  XLH;  text,  II,  p.  56. 

1232  IONIC  COLUMN  from  the  Nereid  Monument  at  Xanthos, 
in  Lycia.  End  of  the  fifth  or  beginning  of  the  fourth 
century  B,  C.  In  the  British  Museum. 

.A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  II,  No.  932,  i. 

1233  DOUBLE  EGG-AND-DART  MOULDING  from  the  Ner- 

eid monument  at  Xanthos,  in  Lycia.  End  of  the  fifth  or  be- 
ginning of  the  fourth  century  B.  C.  In  the  British  Museum. 
A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British  f 
Museum,  II,  No.  931  and  pi.  II.  * 

1234  THE  TOMB  OF  PAYAVA.  Payava  is  probably  to  be 
identified  with  Autophradates,  a Persian  satrap  of  Lydia, 
who  perhaps  reigned  at  Xanthos  about  375-362  B.  C. 
The  construction  of  this  tomb,  which  is  of  limestone,  is 
in  imitation  of  a wooden  building.  The  ends  of  beams 
are  seen  projecting  on  the  sides  and  the  mortices  are  in 


1 86  GREEK  AND  ROMAN  ARCHITECTURE 

some  cases  made  firm  with  wedges.  Both  the  arched 
roof  and  the  tomb  proper  are  adorned  with  reliefs. 
On  the  Roof,  East  Side:  a quadriga  and  combats  between 
horsemen  and  foot-soldiers.  The  Lycian  inscription  here 
probably  means:  “ Payava  built  this  monument.” 

West  Side:  A quadriga  and  hunting  scenes. 

South  Side:  A male  figure,  a female  figure,  and  two  seated 
sphinxes. 

North  Side:  Similar  reliefs  to  those  on  the  south  side, 
but  in  a fragmentary  state. 

On  the  Tomb  Proper,  East  Side:  Battle  of  horsemen 
against  foot-soldiers.  Above,  a Lycian  inscription:  ‘'Pa- 
yava built  this  monument”  (not  shown  in  the  cast). 

West  Side:  A seated  Persian  with  an  attendant  and  other 
male  figures.  Above  is  a Lycian  inscription  containing 
the  name  “ Autophradates,  Persian  satrap”  (not  shown  in 
the  cast). 

South  Side:  Two  armed  figures  standing.  On  the  side 
is  a Lycian  inscription:  “Payava,  son  of  Ad  . . secretary 
of  A . . . rah,  by  race  a Lycian,”  etc. 

North  Side:  A bearded  figure  and  a youth. 

This  tomb  was  discovered  by  Sir  C.  Fellows  in  1838,  and 
is  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  II,  No.  950. 

1235  DETAIL  OF  LYCIAN  ARCHITECTURE,  in  limestone, 
showing  a cornice  supported  on  a row  of  poles  in  imitation 
of  wood  construction.  Fourth  century  B.  C.  From  Xan- 
thos,  and  now  in  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  II,  No.  952. 

1236  SECTION  OF  THE  CYMATIUM  of  the  Mausoleum  at 
Halikarnassos.  About  350  B.  C.  In  the  British  Museum. 
Newton,  Halikarnassos,  pi.  24. 

1237  CHORAGIC  MONUMENT  OF  LYSIKRATES.  This 
was  erected,  according  to  the  inscription,  by  Lysikrates  of 
Athens,  to  celebrate  his  victory  as  choregos  (provider  and 
supporter  of  the  chorus)  in  a musical  contest  of  boys,  in  the 
year  of  the  archonship  of  Evainetos  (B.  C.  335-334).  On 
the  frieze  Dionysos  is  represented  with  his  satyrs,  turning 


GREEK  AND  ROMAN  ARCHITECTURE  1 87 

the  Tyrrhenian  pirates  who  had  captured  him  into  dolphins. 
This  cast  is  the  full  size  of  the  original.  The  right  half 
shows  the  monument  in  its  present  condition,  the  left  half 
is  a restoration,  with  the  exception  of  the  frieze,  the  whole 
of  which  is  shown  as  it  appears  at  present.  In  Athens. 
Friederichs-Wolters,  No.  1328. 

1238  Small  Model  of  the  above,  restored;  one-tenth  the  full 
size. 

1239  The  Frieze  of  the  above. 

1240-1245 

FRAGMENTS  FROM  THE  TEMPLE  OF  APOLLO  AT  DI- 
DYMA  near  Miletos.  About  334-320  B.  C. 

1240  Capital  of  one  of  the  interior  pilasters. 

For  a similar  one  cf.  Texier,  Description  de  V A sie  M incur, 
II,  pi.  139b. 

1241  Panel  between  the  volutes  of  one  of  the  interior  pilasters. 
Texier,  II,  pL  139a. 

1242  Half  Panel  between  the  volutes  of  one  of  the  interior 
pilasters. 

For  a similar  one  cj.  Texier,  1 1,  pl.  139b. 

1243  Section  of  a Capital  decorated  with  winged  figures 
ending  in  arabesques. 

Texier,  II,  pl.  141. 

1244  Dodecagonal  Base  of  a column. 

Anderson  and  Spiers,  The  Architecture  of  Greece  and  Rome, 
second  edition,  p.  1 16,  fig.  98,  p.  96,  fig.  64. 

1245  Round  Base  of  a column. 

1246-1247 

FRAGMENTS  FROM  THE  TEMPLE  OF  ARTEMIS  AT  EPH- 
ESOS.  Latter  part  of  the  fourth  century  B.  C.  In  the  British 
Museum.  (See  also  Nos.  736-738.) 

1246  Eragment  of  an  Akroterial  Ornament  with  interlaced 
akanthos  scrolls. 


1 88  GREEK  AND  ROMAN  ARCHITECTURE 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  II,  No.  1237. 

1247  Fragment  of  the  Corona  of  the  Cornice. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  II,  No.  1233. 

For  a capital  from  the  same  temple  see  No.  738. 

1248  LEG  OF  A BED.  Detail  from  a grave  monument  repre- 
senting a funerary  couch.  End  of  the  fourth  century  B.  C. 
Found  at  Pydna,  in  Macedonia,  and  now  in  the  Museum  of 
the  Louvre,  No.  765. 

C.  L.  Ransom,  Ancient  Furniture,  p.  29,  fig.  12. 

1249  GREEK  ANTEFIX. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  805. 

1250  SECTION  OF  A DORIC  CAPITAL.  Unidentified. 

1251  FRAGMENT  OE  THE  NECK  OF  A DORIC  COLUMN. 
Unidentified. 


LATE  GREEK 

1252  RELIEF,  TWO  HALF  WREATHS.  Detail  from  the 
Choragic  Monument  of  Thrasyllos,  which,  according  to  the 
inscription,  was  dedicated  by  him  to  commemorate  the 
victory  gained  by  his  tribe  in  the  dramatic  contest  in  which 
he  was  himself  choregos,  in  the  archonship  of  Pythagoras, 
271  B.  C.  Still  in  its  original  position  below  the  southern 
wall  of  the  Akropolis,  Athens. 

Stuart  and  Revett,  Antiquities  of  Athens,  chap.  IV,  pi. 
XXXVHI. 

1253  RELIEF  REPRESENTING  A TEMPLE.  Detail  from 
the  relief  of  the  Death  of  Archemoros.  Found  at  S.  Ag- 
nese  fuori  le  mura,  and  now  in  the  Palazzo  Spada,  Rome. 
Schreiber,  Hellenistische  Reliefhilder,  pi.  VI. 

1254  RELIEF  SHOWING  A GROUP  OF  BUILDINGS.  De- 
tail from  the  relief  of  Paris  and  Oinone.  Found  at  S. 
Agnese  fuori  le  mura,  and  now  in  the  Palazzo  Spada, 
Rome. 

Schreiber,  Hellenistische  Reliefhilder,  pi.  X. 


GREEK  AND  ROMAN  ARCHITECTURE  1 89 

1255  RELIEF  SHOWING  THE  SECTION  OF  A TEMPLE. 
Detail  from  the  relief  of  the  Rape  of  the  Palladium.  Found 
at  S.  Agnese  fuori  le  mura,  and  now  in  the  Palazzo  Spada, 
Rome. 

Schreiber,  Hellenistische  Reliefbilder,  pi.  VII. 

1256  HALF  OF  AN  IONIC  CAPITAL.  Found,  1862,  in  the 
interior  of  the  Erechtheion.  In  Athens. 

Puchstein,  Das  ionische  Capitell,  fig.  18. 

1257  IONIC  CAPITAL,  said  to  have  been  found  at  Thebes, 
von  Quast,  Das  Erechtheion  lu  Athen,  II,  pi.  I. 

1258  CAPITAL  from  the  colonnade  of  the  great  Altar  of  Per- 
gamon.  197-159  B.  C. 

Die  AUertumervon  Pergamon,  II,  i,  and  pi.  XII,  i. 

1259  SECTION  OF  A LATE  DORIC  CAPITAL.  Third  or  sec- 
ond century  B.  C.  From  Olympia,  and  probably  from 
the  court  of  the  Palaestra. 

Olympia,  II,  Atlas,  pi.  LXXV,  9;  text,  p.  113. 

1260  SECTION  OF  THE  BASE  of  an  Ionic  or  Corinthian  column. 
Unidentified. 

1 261  SCROLL  DECORATION  from  the  monastery  of  Syrian!  on 
Mt.  Hymettos.  In  the  Berlin  Museum,  No.  1016. 

von  Quast,  Das  Erechtheion  Athen,  II,  pi.  23. 

1262  MOULDING  decorated  with  a floral  design  similar  to  that 
on  the  Erechtheion,  but  of  inferior  workmanship.  Late 
Greek.  In  Athens,  to  the  south  of  the  Akropolis. 

1263  SECTION  OF  A CORNICE  decorated  in  the  style  of  the 
Erechtheion  mouldings.  Unidentified. 

1264  TERRACOTTA  FRIEZE,  with  two  heads  among  scroll- 
work and  flowers.  Said  to  be  part  of  a terracotta  sarco- 
phagus found  at  Capua  in  1869.  In  the  Museo  Gregor- 
iano  of  the  Vatican. 

Helbig,  Guide,  II,  p.  269,  Nos.  1 54-1 57. 

1265  FRAGMENT  OF  A FRIEZE,  from  a wall  with  a concave 
surface  (an  exedra?).  The  decoration  is  a band  of  palm- 


190  GREEK  AND  ROMAN  ARCHITECTURE 

ettes  and  lotos-flowers,  with  a fragmentary  inscription 
above.  Now  among  the  ruins  on  the  south  side  of  the 
Akropolis,  Athens,  where  it  was  probably  found. 


ROMAN 

1266  MODEL  OF  THE  PANTHEON  at  Rome,  restored.  The 
building  was  erected,  as  the  inscription  on  the  entablature 
states,  by  Marcus  Agrippa,  in  the  third  year  of  his  con- 
sulate, that  is  27  B.  C.  It  was,  however,  entirely  recon- 
structed by  the  Emperor  Hadrian  in  120-124  A.  D. 

This  model,  which  is  on  a scale  of  one-twentieth,  was 
made  for  the  Willard  Collection  by  Abel  Poulin,  of  Paris, 
under  the  direction  of  Charles  Chipiez.  On  the  pedestal 
are  photographs  showing  the  present  condition  of  both 
the  exterior  and  interior  of  the  building,  from  which  the 
visitor  can  see  how  much  is  restored  in  the  model.  Most 
of  the  architectural  additions  may  be  regarded  as  warranted 
by  the  evidence  of  what  remains.  ‘Tt  may  be  pretty 
safely  assumed  that  above  each  of  the  six  lower  lateral 
recesses  there  were  semi-circular  openings — lunettes,  closed 
perhaps  by  gratings.  On  the  lower  part  of  the  wall  there 
is  little  that  the  mind’s  eye  need  alter.  Here  the  decoration 
of  columns  and  pilasters,  with  their  frieze,  is  as  it  was  from 
the  first.  Here,  between  the  recesses,  rise  still  the  upper 
parts  of  the  altars — the  aediculae,  as  they  were  called — 
the  columns  supporting  alternately  triangular  and  rounded 

pediments The  principal  recess  rises  impressively 

opposite  to  the  entrance;  its  columns  have  been  placed 
sideways  in  front  of  the  wall  in  order  to  present  the  full 
height  and  breadth,  and  their  entablature  projects.” 
— Holtzinger,  The  Museums  and  Ruins  of  Rome,  II,  p.  147. 
The  sculptures,  however,  as  shown  on  the  model,  are 
purely  conjectural,  and  were  intended  merely  to  give  an 
idea  of  the  general  effect  of  the  structure  as  it  originally 
appeared. 

An  account  of  the  Pantheon  and  the  discussions  regarding 
disputed  points  in  the  history  of  the  building  will  be  found 
in  Lanciani’s  Ruins  and  Excavations  of  Ancient  Rome,  p. 

473- 

1267  MODEL  OF  THE  ARCH  OF  CONSTANTINE,  erected 
to  commemorate  the  victory  of  the  Emperor  Constantine 


1266 — THE  MODEL  OF  THE  PANTHEON,  RESTORED 


GREEK  AND  ROMAN  ARCHITECTURE  I9I 

over  Maxentius,  at  the  Pons  Milvius,  in  31 1 A.  D.  The 
inscription,  which  is  repeated  on  each  front,  reads: 

IMP.  CAES.  FL.  CONSTANTINO  MAXIMO 
P.  F.  AUGUSTO.  S.  P.  Q.  R. 

QUOD  INSTINCTU  DIVINITATIS  MENTIS 
MAGNITUDINE  CUM  EXERCITU  SUO 
TAM  DE  TIRANNO  QUAM  DE  OMNI  EIUS 
FACTIONE  UNO  TEMPORE  JUSTIS 
REMPUBLICAM  ULTUS  EST  ARMIS 
ARCUM  TRIUMPHIS  INSIGNEM  DICAVIT. 

“To  the  Emperor  Caesar  Flavius  Constantinus,  the  Great 
and  the  Pious,  the  Fortunate,  the  Exalted, — inasmuch 
as  by  divine  inspiration  and  the  greatness  of  his  mind,  with 
the  help  of  his  army,  he  avenged  the  state  with  righteous 
arms  on  the  tyrant  and  his  whole  faction — the  Senate 
and  the  people  of  Rome  dedicated  this  arch  adorned  with 
triumphs.'’ 

The  arch  is  decorated  with  sculptures  which  in  a great 
measure  were  taken  from  earlier  monuments.  The  eight 
rectangular  panels  adorning  the  attic  on  the  north  and 
south  fronts  are  from  a monument  of  the  period  of  Marcus 
Aurelius  (161-180  A.  D.).  They  represent  the  Emperor 
entering  the  gates  of  Rome,  addressing  his  people,  receiving 
the  submission  of  conquered  peoples,  and  pouring  a liba- 
tion. 

The  slabs  of  the  attic  on  the  east  and  west  sides,  and  the 
two  slabs  of  the  central  gateway  are  from  the  Forum  of 
Trajan  (98-117  A.  D.).  The  subjects  represented  are 
battle-scenes. 

The  medallions  of  the  pylons  were  taken  probably  from 
a Flavian  monument  (69-96  A.  D.).  They  represent  the 
Emperor  in  hunting-scenes,  pouring  incense,  pouring 
libations,  and  offering  sacrifice. 

The  two  medallions  on  the  sides  date  from  the  time  of 
Constantine.  On  the  west  is  represented  the  sun  in  a 
chariot  with  rearing  horses;  on  the  east  the  moon  with 
her  sinking  chariot. 

Below  the  medallions  on  all  four  sides  are  friezes,  which 
are  mostly  contemporary  with  the  erection  of  the  arch. 
On  each  of  the  two  shorter  sides  is  represented  a triumphal 
procession.  On  the  left  frieze  of  the  south  facade  is  the 
battle  and  siege  of  Verona  (312  A.  D.).  On  the  right  frieze 
of  this  side  is  the  battle  of  the  Milvian  Bridge  (31 1 A.  D.). 
On  the  left  frieze  of  the  north  facade  is  the  Emperor  on 


192  G R E E K A N D R OM  A N A RC  H I T E CT  U R E 

the  rostra  addressing  his  people;  on  the  right  frieze  of 
this  side  is  represented  a congiarium  or  distribution  of 
gifts  by  the  Emperor  to  citizens.  The  two  reliefs  from 
the  north  front  and  that  of  the  west  side  were  transferred 
perhaps  from  the  Arch  of  Diocletian  (284-305  A.  D.). 

The  rest  of  the  sculptural  decorations  all  date  from  the 
time  of  Constantine.  In  the  spandrels  of  the  main  arch- 
way are  flying  Victories  and  the  genii  of  the  seasons;  in 
the  spandrels  of  the  side  arches  are  reclining  river-gods. 
On  the  bases  of  the  columns  are  Victories  with  captives. 
On  each  front  the  keystone  of  the  central  arch  is  decorated 
with  a figure  of  the  goddess  Roma,  and  those  of  the  smaller 
arches  with  figures  of  standing  warriors. 

This  model  was  made  by  Messrs.  Trabacchi  and  Cencetti, 
of  Rome. 

Mrs.  Arthur  Strong,  Roman  Sculpture,  pp.  328ff. 

1268  SECTION  OF  THE  ENTABLATURE  AND  CAPITAL 
of  the  temple  of  Castor  in  Rome.  This  temple  was 
originally  built  to  commemorate  the  battle  of  Lake  Re- 
gillus  (496  B.  C.),  and  was  dedicated  in  484  B.  C.  It  was 
extensively  reconstructed  at  the  beginning  of  the  second 
century  B.  C.,  and  the  remains  of  the  columns  and  entab- 
lature date  from  that  reconstruction. 

Anderson  and  Spiers,  Architecture  of  Greece  and  Rome, 
second  edition,  figs.  142,  147,  148,  167. 

1 269  MODELS  of  a capital  and  base  of  a column  from  the  same 
temple. 

1270  SECTION  OF  THE  ENTABLATURE  from  the  side  of 
the  Temple  of  Vespasian  and  Titus,  in  Rome  (81  A.  D.). 
The  frieze  is  decorated  with  the  insignia  of  the  priest  (the 
cap,  sprinkler,  pitcher,  sacrificial  knife,  saucer,  ladle,  and 
axe). 

Hiilsen,  Forum  Romanum  (English  translation),  fig.  41. 

1271  SECTION  OF  THE  ENTABLATURE  of  the  temple  of 
Concord  in  Rome,  which  was  dedicated  by  the  dictator 
Marcus  Furius  Camillus  after  the  settlement  of  the  con- 
test between  the  patricians  and  plebeians  in  366  B.  C. 
The  present  remains  date  from  the  reconstruction  by 
Tiberius  in  10  A.  D. 

Hiilsen,  Forum.  Romanum  (English  translation),  fig.  43. 


GREEK  AND  ROMAN  ARCHITECTURE  1 93 

1272  SECTION  OF  THE  ENTABLATURE  AND  PODIUM, 
and  half  a capital  and  base  of  a column,  of  the  temple  of 
Vesta  at  Tivoli.  Probably  Augustan  period. 

The  section  of  the  entablature  and  podium  are  in  the 
basement. 

Anderson  and  Spiers,  Architecture  of  Greece  and  Rome, 
second  edition,  figs.  177  and  145. 

1273  SECTION  OF  THE  ENTABLATURE  of  the  Baths  of 
Agrippa  in  Rome,  built  in  19  B.  C. 

Durm,  Baukunst  der  Romer,  p.  254,  fig.  228. 

1274  SECTION  OF  THE  ARCHITRAVE  of  the  temple  of  Mars 
Ultor,  dedicated  during  the  battle  of  Philippi,  in  42  B.  C. 
In  the  Forum  of  Augustus,  Rome. 

Anderson  and  Spiers,  Architecture  of  Greece  and  Rome, 
second  edition,  fig.  168. 

1 275  SECTION  OF  A CORNICE  from  the  temple  of  Romulus(?), 
son  of  Maxentius,  in  Rome.  A.  D.  309. 

1276  FRAGMENT  OF  A CORNICE  decorated  with  palmettes, 
leaf-pattern,  etc.  In  the  Palazzo  Piano.  Rome. 

1 277,  1 278  MODELS,  one-fourth  the  full  size,  of  the  architraves, 
capitals,  and  bases  of  columns,  of  the  Theatre  of  Marcellus, 
in  Rome,  which  was  built  by  Augustus  in  13  B.  C. 

1277  From  the  Lower  Tier,  Doric  order. 

1278  From  the  Upper  Tier,  Ionic  order. 

M.  Desgodetz,  Les  Edifices  de  Rome,  pi.  124. 

1 279  HALF  A CAPITAL,  from  a pilaster  of  the  base  of  the  Mau- 
soleum of  Hadrian  in  Rome.  A.  D.  136.  In  the  Museo 
delle  Terme,  Rome. 

Lanciani,  Ruins  and  Excavations  of  Ancient  Rome,  p.  553. 

1280  COLOSSAL  HEXAGONAL  CAPITAL  from  the  smaller 
Propylaia  at  Eleusis,  built  by  Appius  Claudius  Pulcher, 
in  the  first  century  B.  C.  In  the  temple  of  Demeter  at 
Eleusis. 

Anderson  and  Spiers,  Architecture  of  Greece  and  Rome, 
second  edition,  fig.  71. 


194  GREEK  AND  ROMAN  ARCHITECTURE 

1281  PART  OF  AN  ANTA  CAPITAL  from  the  Smaller  Propy- 
laia  at  Eleusis.  In  the  temple  of  Demeter  at  Eleusis. 

The  Unedited  Antiquities  of  Attica,  III,  pis.  4-6. 

1282  QUARTER  OF  AN  IONIC  CAPITAL  in  the  Church  of 
Santa  Maria  in  Cosmedin,  Rome. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2393. 

1283  IONIC  CAPITAL  found  in  the  Forum  of  Trajan,  and  now 
in  the  Lateran  Museum,  Rome. 

Anderson  and  Spiers,  The  Architecture  of  Greece  and  Rome, 
second  edition,  fig.  144. 

1284  IONIC  CAPITAL  with  animals  in  the  volutes.  In  the 
Church  of  S.  Lorenzo,  Rome  (?). 

1285  HALF  OF  A BELL-SHAPED  CAPITAL  surrounded  by 
long  petals.  In  the  Church  of  S.  Pudenziana,  Rame  (?). 

1286  HALF  OF  A CORINTHIAN  CAPITAL.  Found  in  the 
Forum  of  Trajan,  and  now  in  the  Lateran  Museum,  Rome. 

1287  CORINTHIAN  CAPITAL  (reduced  model),  from  the  por- 
tico of  the  Pantheon,  Rome,  built  by  Agrippa,  27-25  B.  C., 
and  entirely  rebuilt  by  Hadrian,  120-124  A.  D.  Whether 
the  columns  used  by  Hadrian  were  those  originally  erected 
by  Agrippa  is  not  known,  hence  the  date  of  this  capital  is 
uncertain. 

1288  SECTION  OF  THE  BASE  OF  A CORINTHIAN  COLUMN 
in  the  temple  of  Concord,  Rome.  The  present  remains  of 
this  temple  date  from  the  reconstruction  by  Tiberius  in 
the  year  10  A.  D. 

Anderson  and  Spiers,  Architecture  of  Greece  and  Rome, 
second  edition,  fig,  144. 

1289  SECTION  OF  THE  BASE  of  a column,  decorated  with 
inverted  akanthos  leaves,  leaf-patterns,  and  a guilloche. 
Late  Roman.  In  the  Villa  Giustiniani  (?),  Rome. 

Fcole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1530. 

1290  SECTION  OE  THE  B.ASE  of  a column  decorated  with  in- 
verted akanthos  leaves,  guilloche  ornament,  and  rosettes. 


GREEK  AND  ROMAN  ARCHITECTURE  I95 

1291  BASE  OF  A PILASTER  (?).  The  front  is  decorated  with 
two  griffins  with  a tripod  between  them;  each  of  the  sides 
with  an  Eros  and  a palmette.  Late  Roman.  In  the 
Galleria  Lapidaria  of  the  Vatican. 

W.  Amelung,  Die  Skulpturen  des  vatikanischen  Museums, 
No.  82a. 

1292  SMALL  FRAGMENT  of  the  base  of  a column  containing 
an  akanthos  leaf. 

1293-1298  SIX  ROMAN  CONSOLES  of  the  Imperial  period. 
No.  1293  is  in  the  Vatican,  in  the  hall  of  the  Greek  Cross. 
The  others  are  unidentified. 

1299  CONSOLE  with  the  figure  of  a Victory.  It  served  perhaps 
to  support  the  cornice  of  a doorway  or  to  mask  the  key- 
stone of  a triumphal  arch.  Second  century  A.  D.  (?). 
Found  near  Frascati,  and  now  in  the  British  Museum. 
Restorations:  The  left  hand  and  forearm  of  the  Victory. 
A.  H.  Smith,  Catalogue  of  Greeh  Sculpture  in  the  British 
Museum,  III,  No.  2608. 

1300-1302  FRAGMENTS  FROM  THE  FORUM  OF  TRAJAN, 
1 12-1 14  A.  D. 

1300  Frieze  with  palmettes  and  scrolls.  From  the 
Basilica  Ulpia,  and  now  in  the  Lateran  Museum,  Rome. 
Lanciani,  Ruins  and  Excavations  of  Ancient  Rome,  fig.  120. 

1301  Two  PIECES  FROM  A Frieze,  with  Cupids  giving 
drink  to  griffins,  from  the  Basilica  Ulpia,  and  now  in  the 
Lateran  Museum,  Rome. 

Lanciani,  Ruins  and  Excavations  of  Ancient  Rome,  fig.  121. 

1302  Section  of  a Frieze  with  foliated  scrolls. 

Canina,  Gli  edifi^i  di  Roma  antica,  pi.  CXIX,  i. 

1303  ENTABLATURE,  from  a temple  at  Byblos  in  Phoenicia,  of 
the  Roman  period.  The  decoration  shows  a mixture 
of  classic  and  Oriental  motives.  In  the  Museum  of  the 
Louvre. 

Perrot  et  Chipiez,  Histoire  de  V art,  III,  fig.  48. 


196  GREEK  AND  ROMAN  ARCHITECTURE 

1304  PART  OF  A ROMAN  DORIC  FRIEZE  consisting  of  a tri- 
glyph  with  a vase  in  relief  and  a metope  with  a filleted 
bucranium.  Perhaps  from  the  Eleusinion  in  Athens.  Now 
built  into  the  south  wall  of  the  Old  Cathedral  of  Athens. 
P.  Steiner,  Athenische  M itteilungen,  1906,  pi.  XXI,  2,  41, 
and  Beilage,  pi.  16;  text,  p.  338,  14. 

1305  DETAIL  from  a Roman  frieze  with  foliated  scrolls.  From 
Rome. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  157. 

1306  SECTION  OF  A ROMAN  FRIEZE  with  cornucopia.  In 
the  Ecole  des  Beaux-Arts,  Paris. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  62. 

1307  DETAIL  from  a Roman  frieze.  Two  griffins  with  a vase 
between  them.  In  the  Museum  of  the  Louvre. 

Clarac,  Musee  de  Sculpture,  pi.  193,  No.  754. 

1308  SECTION  OF  A FRIEZE  with  a filleted  bucranium.  In 
the  Maison  Carree  at  Nimes. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  149. 

1309  SECTION  OF  A FRIEZE  decorated  with  a floral  scroll 
with  a lion’s  head  emerging  from  a flower.  Unidentified. 

1310  SECTION  OE  A NARROW  ERI EZE  decorated  with  a ser- 
pent, a laurel  tree,  and  half  a palmette  on  a scroll  of  which 
an  owl  is  perched.  Unidentified. 

13  1 1 SECTION  OF  A FRIEZE  from  the  Forum  Romanum. 

1312  SECTION  OF  A FRIEZE  with  a floral  design.  Not  on 
exhibition. 

1313  A,  B,  C.  FRAGMENTS,  with  scroll  and  akanthos  decora- 
tion, from  the  Ara  Pacis  of  Augustus,  13  B.  C.  In  the 
Museo  delle  Terme,  Rome. 

M.  E.  Cannizzaro,  Ara  Pacis  Augustae,  in  the  Bollettino 
d' Arte,  October,  1907. 

For  a general  account  of  the  Ara  Pacis  see  Mrs.  Arthur 
Strong,  Roman  Sculpture,  pp.  39-68. 


GREEK  AND  ROMAN  ARCHITECTURE  1 97 

1314  “THE  ROSE  PILLAR.”  Eirst  century  A.  D.  In  the  Lat- 
eran  Museum,  Rome. 

Mrs.  Arthur  Strong,  Roman  Sculpture,  p.  124,  pi.  XXXV. 

1315  PART  OP  A ROMAN  RELIEE  showing  a section  of  a 
round  temple.  In  the  Palazzo  Spada,  Rome. 

L.  Canina,  Gli  edifiii  di  Roma  antica,  pi.  LX  IV.  9. 

1316  DECORATION  OF  A PILASTER.  In  the  Villa  Medici, 
Rome. 

D’Espouy,  Fragments  d' architecture  antique,  \,  pi.  82,  I. 

1317  CANDELABRUM.  Detail  from  the  same  Roman  frieze 
as  No.  1307.  In  the  Museum  of  the  Louvre. 

Clarac,  Mush  de  Sculpture,  pi.  193,  No.  754. 

1318  DECORATION  OF  A PILASTER,  with  a candelabrum  in 
relief.  Unidentified. 

1319  FOLIATED  SCROLLS.  Relief  from  a door-post.  In  the 
Ecole  des  Beaux-Arts,  Paris. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1 56. 

1320  PART  OF  THE  LEFT  ARM  OF  A COUCH.  The  lower 
half  is  decorated  with  pine  branches,  rose  leaves,  and  thy- 
miateria  (incense-burners);  the  upper  with  a Pan,  an  Eros, 
and  a squirrel  among  vine  leaves.  In  the  Museo  Chiara- 
monti  of  the  Vatican. 

W.  Amelung,  Die  Skulpturen  des  vatikanischen  Museums, 
pi.  69,  No.  516  c. 

1321  PART  OF  A PANEL,  with  a conventionalized  ornament 
consisting  of  the  trunk  of  a palm  tree  surmounted  by  a 
volute  capital.  Unidentified. 

1322-1326  SMALL  DETAILS  from  various  reliefs.  Unidenti- 
fied. 

1327  SECTION  OF  A MOULDING  from  the  upper  part  of  the 
base  of  the  column  of  Trajan  in  Rome.  1 13  A.  D. 
Anderson  and  Spiers,  The  Architecture  oj  Greece  and  Rome, 
second  edition,  p.  190. 


198  GREEK  AND  ROMAN  ARCHITECTURE 

1328  SECTION  OF  A MOULDING  from  the  lower  part  of  the 
base  of  the  column  of  Trajan  in  Rome.  1 13  A.  D. 

Anderson  and  Spiers,  The  Architecture  of  Greece  and  Rome, 
second  edition,  p.  190. 

1329  MOULDING  FROM  A SARCOPHAGUS  found  in  Crete. 
Probably  second  century  A.  D.  In  the  British  Museum. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  2296. 

1330  SECTION  OF  A MOULDING,  with  scrolls  and  a floral  de- 
sign. Unidentified. 

1 33  I SECTION  OF  A MOULDING  of  a base,  decorated  with  in- 
verted akanthos  leaves.  Unidentified. 

1332  SECTION  OF  A MOULDING,  with  a guilloche  surmount- 
ing a leaf-pattern.  Unidentified. 

1333  HEAD  OF  A LION  between  palmettes.  Section  of  the 
cymatium  of  the  temple  of  Antoninus  and  Faustina  in 
Rome.  A.  D.  141. 

Fcole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  388. 

1334  FRONT  OF  A PODIUM,  with  slightly  curved  surface.  The 
face  is  divided  into  three  panels,  in  the  middle  one  of  which 
is  a festoon  caught  with  ribbons  or  fillets,  and  in  each  of 
those  on  the  sides  a bucranium  decorated  with  a knotted 
fillet.  Above  the  central  panel  is  a band  with  a conven- 
tionalized floral  pattern,  and  below  it  are  two  dolphins  with 
a circle  between  them.  In  the  Lateran  Museum,  Rome, 
No.  716. 

1335  SECTION  OF  .A  PANEL,  showing  half  a festoon,  probably 
from  a podium  in  the  Lateran  Museum,  Rome. 

1336  SEPULCHRAL  CIPPUS  in  the  form  of  an  altar.  The  deco- 
ration consists  of  a wreath  suspended  from  the  horns  of 
two  rams’  heads.  In  the  centre  is  a shell  in  which  is 
placed  the  bust  of  a youth.  The  lower  corners  are  oc- 
cupied by  griffins.  The  inscription  reads:  d.  m.  cae- 

SENNIAE  PLOCE  M.  LIVIUS  JUCUNDUS  CONJUGI  OPTIMAE 
PosuiT.  “To  the  Manes.  Marcus  Livius  Jucundus  erected 
this  to  his  excellent  wife  Caesennia  Ploce.”  In  the  Cortile 
of  the  Belvedere  of  the  Vatican,  No.  63. 


GREEK  AND  ROMAN  ARCHITECTURE  I99 

1337  FUNERARY  CIPPUS  of  P.  Fundanius  Velinus.  Sec- 
tion showing  one  side,  with  the  two  corners.  In  the  Mu- 
seum of  the  Louvre,  No.  516. 

Clarac,  Musee  de  Sculpture,  pi.  252,  No.  559. 

1338  RELIEF,  A PATERA  with  a Gorgon’s  head  surrounded 
by  akanthos  leaves.  From  the  frieze  of  the  temple  of 
Vespasian  and  Titus  at  Rome.  81  A.  D. 

Durm,  Baukunst  der  Romer,  fig.  444. 

1339  ROMAN  ROSETTE.  In  the  Museum  of  the  Capitol, 
Rome. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  288. 

1 340  WATERSPOUT,  in  the  form  of  the  horned  mask  of  a man, 
with  ivy  leaves  in  his  hair  and  a shell  in  his  mouth.  Un- 
identified. 

1341  SMALL  ROMAN  MASK. 

1 342  SMALL  PI  LLAR,  to  which  the  figure  of  a Siren  is  attached. 
Probably  from  Attica,  and  now  in  the  National  Museum, 
Athens. 

Friederichs-Wolters,  No.  2168. 

1343  THRONE  OF  THE  PRIEST  OF  DIONYSOS  in  the 
Dionysiac  theatre,  Athens.  First  century  A.  D.  Dis- 
covered during  the  excavation  of  the  theatre,  and  still 
in  its  original  position.  The  decorative  designs  represent: 
(a)  two  satyrs,  (b)  two  men  attacking  griffins,  (c)  winged 
youths  pitting  cocks  against  each  other.  Below  the  seat 
is  the  inscription:  Isplox;  Atovucjou  ’EXeuGepcwq,  “Of 
the  priest  of  Dionysos  Eleuthereus.” 

Revue  archeologique,  1862,  pi.  XX,  p.  350. 

1344  TABLE-SUPPORTS,  found  in  the  house  of  C.  Cornelius 
Rufus  at  Pompeii,  and  still  in  their  original  position. 
First  century  A.  D. 

Overbeck,  Pompeii,  p.  422. 

1345  FRAGMENT  OF  A TABLE-SUPPORT  in  the  form  of  two 
sphinxes.  In  the  Lateran  Museum,  Rome. 

Benndorf  und  Schone,  Die  antiken  Bildwerke  des  later an- 
ensischen  Museums,  No.  376. 


200  GREEK  AND  ROMAN  ARCHITECTURE 


1346  SPHINX.  It  perhaps  served  as  the  central  support  of 
a table.  Found  in  the  ruins  of  a villa  of  Antoninus  Pius 
at  Lanuvium.  In  the  British  Museum. 

Restorations:  Part  of  the  wings,  legs,  and  tail. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  1719. 

1347  TABLE-LEG  formed  by  the  combination  of  a lion’s  head 
and  leg.  From  Pompeii,  and  now  in  the  Museum  of  Naples. 
Friederichs-Wolters,  No.  2154. 

1348  TABLE-LEG  formed  by  the  combination  of  a panther’s 
head  and  leg.  In  the  Museum  of  the  Louvre. 

Louvre,  Sale  Catalogue  of  Casts,  No.  652. 

1349  TABLE-LEG.  The  upper  half  of  a figure  of  Eros  holding 
a shell,  combined  with  a lion’s  leg.  From  the  Dipylon, 
and  now  in  the  National  Museum,  Athens. 
Friederichs-Wolters,  No.  2158. 

1350  TABLE-LEG  formed  by  the  combination  of  a lion’s  head 
and  leg  attached  to  a pilaster.  In  the  British  Museum. 
Restorations:  The  lower  part  and  the  capital. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  2530. 

1351  TABLE-LEG  formed  by  the  combination  of  a panther’s 
head  and  leg.  Of  Italian  marble,  veined  red  and  yellow. 
In  the  British  Museum. 

Restorations:  The  greater  part  of  the  panther’s  leg  and 
the  bracket. 

A.  H.  Smith,  Catalogue  of  Greek  Sculpture  in  the  British 
Museum,  III,  No.  2529. 

1352  TABLE-LEG.  The  upper  half  of  the  figure  of  a Silenos 
combined  with  the  leg  of  a lion.  Unidentified. 

1353  UPPER  HALF  OF  A TABLE-LEG  or  bracket,  showing 
the  fore-part  of  a winged  lion.  In  the  Ecole  des  Beaux-Arts, 
Paris. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  120. 

1354  BRONZE  CANDELABRUM  in  the  Museum  of  Naples. 
Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2287. 


GREEK  AND  ROMAN  ARCHITECTURE  201 

1355  SMALL  MODEL  of  the  sarcophagus  of  Lucius  Cornelius 
Scipio  Barbatus,  298  B.  C.  Of  peperino.  Found  in  the 
tomb  of  the  Scipios,  on  the  Via  Appia,  and  now  in  the 
Vatican. 

Helbig,  Guide,  I,  No.  127. 

1356-1375 

TERRACOTTA  MURAL  RELIEFS 

1356  NIKE  (VICTORY)  SACRIFICING  A BULL.  Terra- 
cotta  mural  relief  in  the  British  Museum. 

H.  B.  Walters,  Catalogue  of  Terracottas  in  the  British  Mu- 
seum, D 569. 

1357  DIONYSOS  AND  A SATYR.  Terracotta  mural  relief 
in  the  British  Museum. 

Somewhat  repaired. 

H.  B.  Walters,  Catalogue  of  Terracottas  in  the  British  Mu- 
seum, D 528. 

1358  SATYR  AND  MAENAD  carrying  the  infant  Dionysos 
in  a basket.  Terracotta  mural  relief  in  the  British 
Museum. 

H.  B.  Walters,  Catalogue  of  Terracottas  in  the  British  Mu- 
seum, D 525. 

1359  “MENELAOS  AND  HELEN.’’  Terracotta  mural  re- 
lief. The  interpretation  is  doubtful.  In  the  Museo 
Kircheriano,  Rome. 

1360  ‘TELOPS  AND  HIPPODAMEIA,”  so  called.  Terra- 
cotta mural  relief  in  the  Museo  Kircheriano,  Rome. 

Helbig,  Guide,  II,  p.  429. 

1361  TWO  CANEPHORI  before  a candelabrum.  Terracotta 
mural  relief.  Archaistic  style.  In  the  British  Museum. 
H.  B.  Walters,  Catalogue  of  Terracottas  in  the  British  Mu- 
seum, D 640,  pi.  XLIII. 

1362  SATYRS  drinking  from  a large  basin.  Terracotta  mural 
relief.  From  the  Campana  Collection,  and  now  in  the 
Museum  of  the  Louvre. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1 101. 


202  GREEK  AND  ROMAN  ARCHITECTURE 

1363  TWO  GENII  holding  a garland.  Terracotta  mural  re- 
lief. Modern  (?).  From  the  Campana  Collection,  and  now 
in  the  Museum  of  the  Louvre. 

Tcole  des  Beaux- Arts,  Sale  Catalogue  of  Casts,  No.  2041. 

1364  FIGURE  OF  VICTORY  among  arabesques.  Terracotta 
mural  relief.  From  the  Campana  collection,  and  now 
in  the  Museum  of  the  Louvre. 

Fcole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1516. 

1365  TWO  SEDATED  WOMEN  among  arabesques.  Terra- 
cotta mural  relief.  From  the  Campana  Collection. 

G.  P.  Campana,  Antiche  opere  in  plastica,  I,  pi.  XIII. 

1366  CONVENTIONAL  DESIGN,  a man  giving  drink  to  two 
winged  monsters.  Terracotta  mural  relief.  From  the  Cam- 
pana Collection,  and  now  in  the  Museum  of  the  Louvre. 
Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1926. 

1367  A WINGED  FIGURE  among  arabesques.  Terracotta 
mural  relief  from  the  Campana  Collection. 

G.  P.  Campana,  Antiche  opere  in  plastica,  I,  pi.  XIV. 

1368  SPHINX.  Small  terracotta  relief  in  the  Laborde  Col- 
lection in  Paris. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  815. 

1369  BEARDED  MASKS  AND  DOLPHINS.  Section  of  a 
terracotta  frieze  from  the  Campana  Collection. 

G.  P.  Campana,  Antiche  opere  in  plastica,  pi.  VII. 

1370  HEADS  AMONG  SCROLLS  AND  PALMETTES.  Sec- 
tion of  a terracotta  frieze  from  the  Campana  Collection,  and 
now  in  the  Museum  of  the  Louvre. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1935. 

1371  PALMETTES  AND  SCROLLS.  Section  of  a terracotta 
frieze  from  the  Campana  Collection,  and  now  in  the  Mu- 
seum of  the  Louvre. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2042. 

1372  A WINGED  HEAD.  Fragment  of  a terracotta  frieze  in 
the  British  Museum. 

Ecole  des  Beaux  Arts,  Sale  Catalogue  of  Casts,  No.  2150. 


GREEK  AND  ROMAN  ARCHITECTURE  203 

1373  TWO  WINGED  LIONS.  Section  of  a terracotta  frieze 
in  the  Ecole  des  Beaux-Arts,  Paris. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  100. 

1374  MEDUSA  HEAD  among  scrolls  and  palmettes.  Section 
of  a terracotta  frieze.  Unidentified. 

1375  SECTION  OF  A TERRACOTTA  CORNICE  with  fluted 
cyma  and  a band  of  lilies  on  the  face.  In  the  Berlin  Mu- 
seum. 

Boetticher,  Tektonik  der  Hellenen,  pi.  6,  12. 

1376  TERRACOTTA  ANTEFIX  with  a head  surrounded  by 
akanthos  leaves,  surmounted  bya  palmette.  From  the  Cam- 
pana  Collection,  and  now  in  the  Museum  of  the  Louvre. 
Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1933. 

1377  THREE  TERRACOTTA  ANTEFIXES  decorated  with 
palmettes.  Found  at  Olympia,  and  now  in  the  Museum 
there. 

Friederichs-Wolters,  Nos.  387  and  389,  and  Olympia, 
II,  B audenkmaler , pi.  CXIX,  No.  5. 

1378  THREE  TERRACOTTA  ANTEFIXES  decorated  with 
female  heads  and  ornaments.  Etruscan.  Formerly  in  the 
Campana  Collection,  and  now  in  the  Museum  of  the  Louvre. 
Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  Nos.  2038, 
2039,  and  2045. 

1379  TERRACOTTA  ANTEFIX  decorated  with  sphinxes  and  a 
palmette. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  402. 

1380  TERRACOTTA  ANTEFIX  decorated  with  a female  head. 
Panofka,  Terracotien  des  kdniglichen  Museums  in  Berlin, 
pis.  52  and  53. 

1381  FACE  OF  A CORNER  ANTEFIX.  In  the  Villa  Pam- 
phili,  Rome. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2323. 

1382  TERRACOTTA  ANTEFIX  decorated  with  a head  of 
Athena.  From  Athens. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2120. 


204  GREEK  AND  ROMAN  ARCHITECTURE 

1383  ROMAN  ANTEFIX,  from  Rome. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1900. 

1384  TERRACOTTA  ANTEFIX  decorated  with  the  figure  of  a 
Nike  (Victory). 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  403. 

1385  TERRACOTTA  ANTEFIX  decorated  with  a female  head 
surmounted  by  a palmette. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  404. 

1386  TERRACOTTA  ANTEFIX  decorated  with  a female  head. 
Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  420. 

1387  ANTEFIX  decorated  with  a palmette. 

1388  ANTEFIX  decorated  with  a palmette  and  fore-parts  of 
griffins. 

1389-1392  FOUR  TERRACOTTA  MASKS.  Etruscan.  In  the 
Antiquarium  in  Munich. 

1393  TOP  OF  A CIPPUS,  in  the  shape  of  a roof  with  female 
heads  in  the  gables  and  angles.  Unidentified. 

1394  INSCRIPTION  from  a stele  of  limestone  which  stood 
in  the  Temple  of  Herod  at  Jerusalem.  The  inscription 
reads:  MtqOevoc  dXXoyev^  eiaxopsueaOat  IvTOt;  tou  xspl  to 
Icpbv  Tpu^d/vTOLi  xal  x£pi66Xou.  oq  6’  dv  Xi^cpGv]  lauTw 
atxioq  IcjTat  btd  to  £?a/,oXou0£lv  Odvaxov.  “Let  no 
stranger  enter  within  the  balustrade  around  the  sanctuary 
and  the  sacred  enclosure;  whosoever  is  caught  in  doing 
so  will  have  to  answer  to  himself  for  the  penalty  of  death 
that  follows.” 

Josephus,  in  his  History  of  the  Jewish  War,  V,  5,  2,  and  his 
Jewish  Antiquities,  XV,  II,  5,  says  that  on  the  stone  bal- 
ustrade which  separated  the  inner  from  the  outer  sanctuary, 
in  the  temple  of  Herod,  were  placed  stelae  with  Greek  and 
Latin  inscriptions  forbidding  strangers  to  enter  within  the 
second  sanctuary.  The  stele  from  which  the  above  in- 
scription is  taken  was  doubtless  one  of  these.  Its  date 
must  be  a few  years  before  the  Christian  era.  It  was 
found  about  fifty  metres  distant  from  the  temple  of  Herod, 
and  is  now  in  the  Imperial  Museum  of  Constantinople. 
C.  Clermont-Ganneau,  Une  stele  du  temple  de  Jerusalem,  in 
the  Revue  archeologique,  1872,  XX  H,  pp.  2 iqfT.  and  pp.  209!?. 


EARLY  CHRISTIAN,  BYZANTINE,  ROMAN- 
ESQUE, SCANDINAVIAN  AND 
SARACENIC  ART 


EARLY  CHRISTIAN  ART. 

I-VIII  CENTURIES 

(in  gallery  38) 

1401  END  OF  A SARCOPHAGUS,  with  a vase  and  scroll-work, 
framed  by  two  twisted  columns  and  a pediment.  In  the 
Chapel  of  St.  Aquilinus,  Milan.  Of  marble.  Fifth  century. 

1402  TYMPANUM,  from  the  end  of  the  sarcophagus  which 
partly  supports  the  pulpit  in  the  Church  of  Sant’  Ambro- 
gio,  Milan.  Of  marble.  Fifth  (?)  century. 

Garrucci,  Storia,  V,  pi.  328,  No.  3. 

1403  ARCHITRAVE  of  the  main  doorway  in  the  Church  of 
Santa  Pudenziana,  Rome,  dating  from  the  eighth  century, 
and  restored  in  1598.  Of  marble. 

Topical  Architecture,  I,  No.  35. 

1404  CARVED  WOODEN  DOOR,  with  panels  representing; 
(i)  the  Prophet  Habakkuk  transported  by  an  angel  to 
Daniel;  (2)  (much  restored)  the  Ascension  of  Elijah,  and 
his  mantle  falling  on  Elisha;  (3)  Christ  before  Caiaphas.  In 
the  Church  of  Santa  Sabina,  Rome.  Fifth  century. 
Garrucci,  Storia,  VI,  pi.  499,  Nos.  8,  10,  and  B;  pi.  500, 
No.  HI. 

1405  PART  OF  THE  DOORWAY  FRAME  in  the  Church  of 
Santo  Stefano  Rotondo,  Rome.  Of  marble.  Fifth  century. 

1406  RELIEF  from  the  end  of  a sarcophagus,  representing 
Moses  smiting  the  rock,  and  Christ  healing  the  woman 
with  an  issue  of  blood.  In  the  Lateran  Museum,  Rome. 
Of  marble.  Fourth  or  fifth  century. 

Garrucci,  Storia,  V,  pi.  323,  No.  6. 


BYZANTINE  ART 

IX-XI  CENTURIES 

(in  gallery  38) 

1411  HALF  CAPITAL  from  the  exterior  of  the  apse  of  the 
Cathedral  of  San  Donato,  at  Murano.  Of  marble.  Tenth 
century. 

Ruskin,  Stones  of  Venice,  II,  pi.  VII,  No.  7. 

1412  FRAGMENT  OF  CORNICE  from  the  same. 

Ruskin,  Stones  of  Venice,  II,  pi.  V. 

14 13- 1415  THREE  SQUARE  PANELS.  In  each  is  a circle 
of  bead-and-fillet  ornament,  enclosing  in  1413  a grilfin,  in 
1414  an  eagle,  in  1415  two  winged  beasts  feeding.  From 
Rome. 

1416  CAPITAL  from  the  nave  of  the  Cathedral  of  Santa  Maria, 
at  Torcello;  rebuilt  1008.  Of  marble. 

Cattaneo,  Architecture  in  Italy,  p.  330. 

1417-1420  DETAILS  FROM  THE  BASILICA  OF  ST.  MARK, 
VENICE.  977-1071. 

1417  Fragment  OF  A Capital  in  the  interior.  Of  marble. 
Ongania,  La  basilica  di  San  Marco,  Pf.  V,  pi.  203,  No.  E3. 

1418  Circular  relief  with  a peacock;  detail  from  a pan- 
el made  in  976  for  a parapet,  and  now  set  into  the  wall  on  a 
stairway.  Of  marble. 

Cattaneo,  Architecture  in  Italy,  p.  321. 

1419  Panel,  with  two  griffins,  a vase,  and  ornament,  at 
the  base  of  the  south  facade.  Of  marble. 

Ongania,  La  basilica  di  San  Marco,  Pf.  V,  pi.  137. 


BYZANTINE  ART 


209 

1420  Panel  with  an  arch  and  columns  enclosing  a cross 
and  ornament,  in  the  Baptistery  of  St.  Mark  of  the  Par- 
ticipazi.  Of  stone.  A relic  of  the  older  church  of  829. 
Cattaneo,  Architecture  in  Italy,  p.  294. 

1421  CORBEL,  with  a griffin  and  akanthos  ornament.  In  the 
Museo  Civico,  Venice. 

1422  A,  B.  WELL-HEAD  IN  THE  CORTE  GATTEI,  VEN- 
ICE. About  1 105.  One  side,  and  a fragment  of  the  border 
at  the  top.  Of  stone. 

Mothes,  Geschichte  der  Baukunst,  pi.  3. 

Robertson,  Venetian  Discourses,  p.  140. 

1423  A,  B.  FRAGMENTS  OF  A FRIEZE,  with  animals  in  or- 
nament. In  Venice. 

Royal  Architectural  .Museum,  London,  Sale  Catalogue  of 
Casts,  Nos.  100,  loi. 


ROMANESQUE  ART 

MAINLY  XI-XIII  CENTURIES 
ITALIAN 

(in  gallery  38) 

1430-1432  MILAN,  GASTELLO  SFORZESCO. 

Lombard  Capitals  from  the  Church  of  Santa  Maria  d’ 
Aurona,  Milan,  now  destroyed.  Of  stone.  Eleventh  cen- 
tury. 

Dartein,  U Architecture  lombarde,  p.  105,  A,  B,  C. 

1433-1436  MILAN,CHURCHOFSANT’ AMBROGIO.  Found- 
ed in  the  fourth  century,  and  rebuilt  in  the  ninth,  eleventh 
and  twelfth  centuries.  Lombard  style. 

1433  Byzantine  Fragment  of  the  jamb  of  the  main 
doorway.  Of  stone.  Ninth  century. 

Cattaneo,  Architecture  in  Italy,  p.  230. 

Gauthiez,  Milan,  p.  9. 

1434,  1435  Two  CAPITALS  of  engaged  columns.  No.  1435 
is  in  the  lower  gallery  of  the  narthex.  Of  stone. 
Eleventh  century. 

Dartein,  V Architecture  lombarde,  pi.  40,  No.  2. 

1436  A,  B.  Two  Sides  of  the  Pulpit,  sculptured  with 
animals  and  ornament.  Of  marble.  Second  half  of  the 
eleventh  century. 

Dartein,  U Architecture  lombarde,  p.  112,  pi.  36. 

Gauthiez,  Milan,  p.  ii. 

1437,  1438  ROME,  BASILICA  OF  SAN  GIOVANNI  IN 
LATERANO.  Founded  in  the  fourth  century,  and  several 
times  rebuilt  and  restored. 


THE  CLOISTER  OF  SAN  GIOVANNI  IN  LATERANO,  ROME 


/ 


ITALIAN  AND  FRENCH 


21  I 

1437  Cloister  Arcade;  built  by  Vassa- 
lettus,  in  the  thirteenth  century.  Of  stone,  with  Cosmato 
work. 

In  Gallery  17. 

Fontana,  III,  pi.  15. 

1438  Double  Capital  from  the  Cloister.  Of  stone. 
In  Gallery  17. 

Fontana,  Chiese,  III,  pi.  16. 

1439-1442  UNIDENTIFIED. 

1439  Small  Bracket,  or  pendant,  with  eagles.  Lombard 
style. 

Pierotti,  Sale  Catalogue  of  Casts,  No.  1 5. 

1440  Narrow  Cornice  with  ornament.  Lombard  style. 

1441  Small  Half-Capital  with  a seated  figure.  Lom- 
bard style. 

Pierotti,  Sale  Catalogue  of  Casts,  No.  15. 

1442  A,  B.  Fragments  OF  a Frieze,  with  animals  in 
ornament.  Lombard  style. 

Pierotti,  Sale  Catalogue  of  Casts. 


FRENCH 

(in  gallery  38; 

1443-1445  ARLES,  CHURCH  OF  ST.  TROPHIME.  Twelfth 
century. 

1443  Model  of  the  Porch. 

Wilson,  Cathedrals  of  France,  p.  3. 

1444-1445  Capitals  from  the  Cloister.  Of  stone. 
Marcou,  Album,  I,  pi.  16. 

Wilson,  Cathedrals  of  France,  p,  4. 

1446  AUTUN,  CATHEDRAL  OE  ST.  LAZARE.  Twelfth 
century. 

Capital  of  a pilaster  in  the  nave. 

Marcou,  Album,  I,  pi.  3. 


212 


ROMANESQUE  ART 


1447  BRIVES,  CHURCH  OF  ST.  MARTIN.  Twelfth  century. 
Capital  of  an  engaged  column  in  the  nave. 

Marcou,  Album,  I,  pi.  34. 

1448  CHALONS-SUR-MARNE,  CHURCH  OF  NOTRE- 
DAME.  Twelfth  century. 

Capital  of  a pilaster  of  the  nave.  Of  stone. 

Marcou,  Album,  I,  pi.  54,  No.  3. 

1449  CLERMONT-FERRAND,  CHURCH  OF  NOTRE- 
DAME-DU-PORT.  Close  of  eleventh  and  beginning  of 
twelfth  century. 

Doorway  of  the  south  transept.  In  the  tympanum 
are  the  Madonna  and  Child  and  the  three  Magi,  the  Presen- 
tation in  the  Temple,  and  the  Baptism  of  Christ;  above 
are  God  the  Father  and  two  cherubim,  and,  at  either  side, 
indistinguishable  figures. 

In  Gallery  30. 

Marcou,  Album,  I,  pi.  9,  pi.  74,  No.  25. 

1450,  1451  CORBEIL,  CHURCH  OF  NOTRE-DAME.  Early 
twelfth  century. 

Corbels  with  animals’  heads. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  Nos.  284, 
285. 

1452  DONZY,  CHURCH  OF  NOTRE-DAME-DU-PRE. 
Twelfth  century. 

Capital  of  an  engaged  column  in  the  nave.  Of  stone. 
Marcou,  Album,  I,  pi.  51,  No.  3. 

1453-1462  MOISSAC,  CHURCH  OF  ST.  PIERRE.  Of  the 
twelfth  century;  rebuilt  in  the  fifteenth  century;  the  Clois- 
ter dates  from  1100- 1108. 

1453-1456  Four  Columns,  with  capitals,  from  the  ar- 
cades of  the  Cloister.  Of  stone. 

Baudot,  La  sculpture  jranfaise,  12®  siecle,  pi.  6,  Nos.  i,  2. 
Vitry  and  Briere,  Documents,  pi.  7,  No.  7. 

1457-1461  Abaci  of  capitals  in  the  Cloister.  Of  stone. 
Marcou,  Album,  1,  pis.  21-23. 


THE  CHURCH  AT  ST.  GILLES 


t 


t* 


FRENCH  213 

1462  Detail  of  the  Lintel  of  the  south  door.  Of  stone. 
Twelfth  century. 

In  Gallery  30. 

Fleury,  Etudes  sur  les  portails,  p.  87. 

1463,  1464  POITIERS,  CHURCH  OF  NOTRE-DAM E-LA- 
GRANDE.  End  of  the  eleventh  century. 

1463  Lunette,  with  grotesque  bird,  from  the  west  facade. 
Of  stone. 

Vitry  and  Briere,  Documents,  pi.  16. 

1464  Fragment  of  the  Cornice,  from  the  same.  Of 
stone. 

Vitry  and  Briere,  Documents,  pi.  16. 

1465  ST.  GILLES,  CHURCH.  Twelfth  century. 

Central  Porch  of  the  West  Facade.  Of  marble  and 
stone. 

(Not  yet  exhibited,  on  account  of  lack  of  space). 

Marcou,  Album,  I,  pis.  ii  ff. 

1466,  1467  SAINTES,  CHURCH  OF  ST.  EUTROPIUS. 
Eleventh  century. 

Capitals  of  Pilasters.  Of  stone. 

In  Galleries  30  and  31. 

Baudot,  La  sculpture  jrangaise,  12®  siecle,  pi.  17,  Nos.  3,  4. 

1468  SAINTES,  CHURCH  OF  STE.  MARIE-DES-DAMES. 
Twelfth  century. 

Capital  from  the  angle  of  a window  in  the  west  facade. 
Of  stone. 

Marcou,  Album,  I,  pi.  34,  No.  5. 

1469  TOULOUSE,  CHURCH  OF  ST.  SERNIN.  Twelfth  cen- 
tury. 

Capital  from  the  doorway  of  the  west  fagade.  Of  stone. 
Baudot,  La  sculpture  franfaise,  12®  siecle,  pi.  10,  No.  3. 

1470-1472  TOULOUSE,  MUSEE  DES  BEAUX-ARTS. 

1470,  1471  Double  Capitals  from  the  Abbey  de  la  Dau- 
rade.  Of  stone.  Twelfth  century. 

In  Gallery  31. 

Marcou,  Album,  I,  pis.  25,  26. 


214 


ROMANESQUE  ART 


1472  Fragment  of  a Capital,  with  a centaur  and  siren 
in  scrolls,  from  the  Church  of  St.  Sernin  (?).  Of  stone. 
Tenth  century. 

Baudot,  La  sculpture  jrangaise,  12®  siecle,  pi.  5,  No.  3. 


GERMAN 

(in  gallery  38) 

1473-1478  BAMBERG,  CATHEDRAL.  End  of  the  twelfth 
century. 

Fragments  of  Capitals  of  pilasters.  Of  sandstone. 

Berlin  Museum,  Sale  Catalogue  of  Casts,  No.  2970. 

1479  FREIBERG,  CATHEDRAL.  Of  the  twelfth  century; 
rebuilt  in  the  fifteenth  century. 

Tympanum  and  Corbels  from  the  “Golden  Portal,'’  the 
south  door  of  the  Cathedral.  In  the  lunette  are  the  Vir- 
gin and  Child,  the  three  Magi,  and  the  Angel  Gabriel  and 
St.  Joseph.  Of  stone.  Early  thirteenth  century. 

Bergner,  Handbuch,  p.  222. 

1480,  1481  FREISING,  CATHEDRAL.  1161-1205. 

1480  Sculptured  Column  in  the  crypt.  Of  stone. 
Reber,  Mediaeval  Art,  p.  444. 

1481  Half  Capital,  inscribed  with  the  name  “Liut- 
brecht,"  and  decorated  with  heads  said  to  be  likenesses 
of  the  sculptor  of  column  No.  1480.  Of  stone. 
Kreittmayr,  Sale  Catalogue  of  Casts,  No.  166. 

1482-1492  GELNHAUSEN,  PFARRKIRCHE.  1230-1260. 

1482-1490  Capitals,  with  human  heads  and  foliage. 
Moller,  Denhmdler,  Pt.  i,  pi.  25. 

Ruhl,  Gehaude,  pi.  ii. 

1491  Detail  of  the  Archivolt  over  the  north  door. 
Ruhl,  Gehaude,  pi.  ii. 

1492  Holy-Water  Basin. 

Bergner,  Handbuch,  p.  280,  fig.  227. 


GERMAN 


215 


1493-1495  GELNHAUSEN  (?). 

1493  Corbel  with  a face  in  foliage. 

1494  Corbel,  or  pendant,  with  an  animal’s  head  and  fol- 
iage. 

1495  Fragment  of  an  Archivolt. 

C/.  Moller,  Denkmaler,  pi.  22,  No.  6. 

1496,  1497  HILDESHEIM,  CATHEDRAL. 

1496  Reliquary,  in  the  Treasury.  Of  oak,  plated  with 
silver-gilt.  Ninth  century;  said  to  have  belonged  to  the 
chaplain  of  Louis  the  Pious. 

1497  The  “Easter  Column,”  made  by  St.  Bernward  in 
1022,  and  sculptured  with  twenty-four  scenes  from  the  life 
of  Christ.  In  the  Choir  of  the  Cathedral.  Of  bronze. 
Bergner,  Handbuch,  p.  490. 

1498-1502  HILDESHEIM,  CHURCH  OF  ST.  MICHAEL. 
Built  in  1001-1033,  and  restored  in  1 186  and  1855. 

1498-1500  Base  and  Two  Capitals  from  columns  in 
the  nave.  Of  stone.  1186. 

Moller,  Denkmaler,  pis,  46,  47. 

1501,  1502  Parts  of  the  Choir  Screen,  with  the  Ma- 
donna and  Child,  and  Saints.  About  1 186. 

Liibke,  Geschichte,  p.  237. 

1503,  1504  LOCCUM,  MONASTIC  CHURCH. 

End  of  a Choir  Stall,  and  Panel.  Of  wood.  About  1250. 
Liibke,  Ecclesiastical  Art,  p.  215. 

1 505-1 5 13  LORSCH,  MICHAELS-CAPELLE.  Erected  as  a 
monastery  portal,  about  880. 

I 505,  I 506  Capital  and  Base,  from  the  arcade  of  the 
first  story. 

I 507,  I 508  Ionic  Capital,  with  portion  of  moulding,  and 
base  of  a pilaster,  of  the  blind  arcade  in  the  second  story. 


2i6 


ROMANESQUE  ART 


1509  Detail  of  the  Frieze  between  the  first  and  sec- 
ond stories. 

1510,  1511  Detail  and  Cross  Section  of  the  cornice. 

1512  Pilaster  Capital  from  the  ruins  of  the  monastery; 
now  in  the  Chapel. 

1513  EInd  of  a Sarcophagus  of  the  Carlovingian  era. 
In  the  Chapel. 

Adamy,  Die  jrankische  Thorhalle. 

1 5 14-1522  MUNICH,  BAVARIAN  NATIONAL  MUSEUM. 
See  also  Nos.  1525,  1526. 

1514  Knocker  with  lion’s  head  and  ring.  Of  bronze. 
Tenth  century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  No.  1 14. 

15  I 5-1  521  Capitals,  of  sandstone.  Twelfth  century. 
Kreittmayr,  Sale  Catalogue  of  Casts,  Nos.  1207,  1210-1213. 
Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  Nos.  579, 
2298. 

1522  Fragment  of  a Frieze  with  warriors  and  animals 
in  scrolls.  Of  sandstone.  Twelfth  century. 

Der  Neuhau  des  bayerischen  Nationalmuseums,  pi.  16. 

1523  NAUMBURG,  CATHEDRAL  OF  ST.  PETER  AND  ST. 
PAUL.  Twelfth  and  thirteenth  centuries. 

Capital  from  the  crypt.  Of  stone. 

Dohme,  Geschichte,  p.  142. 

1524  STUTTGART,  ROYAL  COLLECTION. 

Knocker  with  animal’s  head  and  ring.  Of  bronze.  Tenth 
century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  No.  541. 

1525-1527  WURZBURG,  CATHEDRAL.  Eleventh  and 
twelfth  centuries. 

I 525,  I 526  Columns  with  capitals;  now  in  the  Bavarian 
National  Museum,  Munich.  Of  red  sandstone. 

Der  Neubaudes  bayerischen  Nationalmuseums,  pi.  16. 


GERMAN,  ETC.  217 

1527  Knocker,  with  a lion’s  head.  Of  bronze.  Twelfth 
century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  No.  273. 

1528-1530  UNIDENTIFIED. 

1528  Fragment  of  an  archivolt. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2262. 

1529  Panel  of  a grille,  with  scrolls  and  grape  leaves. 
Of  iron.  Thirteenth  century. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1310. 

1530  Half  Capital  of  Corinthian  type. 

FLEMISH 

(in  gallery  38) 

1531-1536  MAASTRICHT,  CHURCH  OF  ST.  SERVATIUS. 
Founded  in  the  sixth  century,  with  additions  of  the  ninth 
to  the  fifteenth  centuries. 

I 53 1 Series  of  Engaged  Capitals  from  the  south  door- 
way. Thirteenth  century. 

Van  Ysendyck,  Documents  classes,  Ser.  3,  Portails,  pi.  i. 

1532-1536  Fragments  of  Capitals  sculptured  with 
human  figures  in  action.  Eleventh  century. 

Stoltzenburg,  Sale  Catalogue  of  Casts,  No.  184  a-e. 


ENGLISH 

(in  gallery  38) 

SAXON 

1537,1538  DOVER,  MUSEUM. 

Balusters,  formerly  in  the  Church  of  St.  Mary  de  Castro, 
Dover  Castle.  Of  Caen  stone.  Seventh  century. 
Archaeologia  caniiana,  V,  pi.  2. 


2i8  r o m a n e s q u e a r t 

1539,  1540  LONDON,  ROYAL  ARCHITECTURAL  MU- 
SEUM. 

Gravestones  with  runic  inscriptions,  dating  previous  to 
the  eleventh  century. 

Royal  Architectural  Museum,  Sale  Catalogue  of  Casts,  Nos. 

15.  158. 


NORMAN 

1541-1543  ADEL,  CHURCH  OF  ST.  JOHN  THE  BAPTIST. 
Twelfth  century. 

Fragments  of  Capitals  from  the  chancel  arch. 

Murray,  Yorkshire,  p.  401. 

1544  BARFRESTON,  CHURCH.  Early  twelfth  century. 
South  Doorway. 

Britton,  Architectural  Antiquities,  IV,  pi.  4. 

1545-1547  BIRKIN,  CHURCH.  About  1140. 

Arch  from  a doorway,  and  capitals. 

Murray,  Yorkshire,  p.  87. 

1548  DURHAM,  CATHEDRAL.  Eleventh  to  fifteenth  centur- 
ies. 

Knocker  with  grotesque  head,  from  the  north  door.  Of 
iron.  Eleventh  century. 

1549  LEWES,  SOUTHOVER  CHURCH. 

Slab  from  the  Tomb  of  Gundrada,  daughter  (P')  of  Wil- 
liam of  Normandy,  and  wife  of  William  de  Warrene,  first 
Norman  earl.  The  tomb  was  originally  in  the  Priory  of 
St.  Pancras.  Of  stone.  Twelfth  century. 

Murray,  Sussex,  pp.  43-45. 

1 550,  I 55  I LONDON,  OLD  INNER  TEMPLE  HALL.  Twelfth 
century;  destroyed  in  1869. 

Capitals. 

Royal  Architectural  Museum,  Sale  Catalogue  of  Casts,  Nos. 
60,  61. 

Wheatley,  London,  III,  p.  354. 


ENGLISH 


219 


1552  LONDON,  TEMPLE  CHURCH.  1185-1240. 

Capital  from  the  arcade  of  the  round  church.  1185. 
Caveler,  Gothic  Architecture,  pi.  10. 

1553  A-I.  ROCHESTER,  CATHEDRAL.  Completed  1130. 
VoussoiRS,  with  animals,  etc.,  in  ornament,  from  the  arch 
of  the  west  doorway. 

Caveler,  Gothic  Architecture,  pis.  4,  5. 

1554,  1555  ST.  NICHOLAS-AT-WADE,  CHURCH.  Twelfth 
century. 

Eragments  of  Capitals. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  Nos.  1174,  1175. 

1556  WINCHESTER,  CATHEDRAL. 

Baptismal  Eont.  The  sculptures  on  two  sides  represent 
scenes  from  the  life  of  St.  Nicholas,  Bishop  of  Myra,  in 
Syria.  Of  black  marble.  Twelfth  century. 

Winkles,  Cathedral  Churches,  I,  pi.  49,  p.  13 1. 

1557  WORKSOP,  PRIORY  CHURCH.  Twelfth  century. 
Eragment  of  a Capital  (?). 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  II. 

1558,  1559  YORK,  MINSTER.  Eleventh  to  fifteenth  centu- 
ries. 

Capitals  from  the  crypt.  Twelfth  century. 

Britton,  Cathedral  Antiquities,  I,  pi.  2,  A,  D. 

1560,  1561  UNIDENTIEIED. 

1560  Columns  and  Spandrels  from  a cloister. 

I 561  Eragment  of  a Large  Capital. 

Brucciani,  Sale  Catalogue  of  Casts,  No.  53. 


SCANDINAVIAN  ART 

X-XIV  CENTURIES 

(in  gallery  38) 

NORWEGIAN 

The  originals  of  Nos.  1591-1595  are  of  carved  wood,  and  are  now 
in  the  Historical  Museum  at  Christiania. 

1591  AAL,  CHURCH.  Twelfth  century. 

Doorway. 

Dietrichson  and  Munthe,  Die  Hol^baukunst,  p.  60. 

1592  FLAA,  CHURCH.  About  1200. 

Doorway. 

Dietrichson  and  Munthe,  Die  Hol^baukunsi,  p.  89. 

1593  NAES,  CHURCH.  Thirteenth  century. 

Fragment  of  a Column. 

Guidotti,  Sale  Catalogue  of  Casts. 

1594  OlFJELD,  CHURCH.  About  1400. 

Fragment  of  a Frieze. 

Guidotti,  Sale  Catalogue  of  Casts. 

1595  TORPE,  CHURCH.  First  mentioned  in  1310. 

Fragment  of  a Carved  Plank. 

Seesselberg,  Die  friib-miiielalterlicbe  Kunst,  fig.  166. 

1596-1599  URNAES,  CHURCH. 

Details,  of  carved  wood,  built  into  the  wall  of  the  tim- 
ber church  (Stavekirke),  and  said  to  be  from  an  older 
building,  previous  to  the  eleventh  century. 

I 596  Door  with  its  frame. 


NORWEGIAN 


22 


1 597,  I 598  Panels. 

1 599  Pillar  from  one  of  the  exterior  corners. 
Dietrichson,  De  Norske  Stavkirker,  p.  212. 


ICELANDIC 

1600-1608  COPENHAGEN,  MUSEUM  OF  NORTHERN 
ANTIQUITIES. 

Details,  of  carved  wood,  from  churches  in  Iceland. 

1600  Door.  Twelfth  century. 

Murray,  Denmark,  p.  64. 

1601,1602  Fragments  OF  A Door  Jamb. 

Steffensen,  Sale  Catalogue  of  Casts,  Nos.  906,  907. 

1603  Fragment  of  a Carved  Plank.  Eleventh  cen- 
tury. 

Steffensen,  Sale  Catalogue  of  Casts. 

1604-1606  Friezes. 

Steffensen,  Sale  Catalogue  of  Casts,  Nos.  903-905. 

1607,  1608  Seat  Ends  from  the  Church  at  Faeror,  Ice- 
land; carved  with  the  figures  of  a saint,  and  a king  and 
queen. 

Steffensen,  Sale  Catalogue  of  Casts,  Nos.  901,  902. 


SARACENIC  ART 

IX-XV  CENTURIES 

(in  gallery  38) 

ARABIAN 

1618-1620  CAIRO,  HOUSE  OF  SHEIK  EL-SADAT. 

Panels. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  149. 

1621  CAIRO,  MOSQUE  OF  I BN  TULUN.  879. 

Panel,  with  geometric  ornament. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  196. 

1622-1632  CAIRO,  MOSQUE  OF  KAYT  BEY.  1468-1496. 

1622  Lintel  of  a doorway,  with  voussoirs. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  154. 

1623,  1624  Fragments  of  Spandrels. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  150. 

1625  Capital,  with  stalactite  ornament. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  92. 

1626  Face  of  a Voussoir  of  an  entrance  arch. 

1627-1630  Panels. 

Ward,  Historic  Ornament,  I,  fig.  341. 

Jeladon,  Sale  Catalogue  of  Casts,  Nos.  13,  90,  159,  145. 

1631  A-C.  Face  and  Profiles  of  a Pilaster  Capi- 
tal at  the  spring  of  the  entrance  arch. 

Jeladon,  Sale  Catalogue  of  Casts,  Nos.  132,  171. 


ARABIAN 


223 


1632  Shell  of  a Niche  in  the  minaret. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  13. 

1633,  1634  CAIRO,  MOSQUE  OF  MEDAN  EZ-ZAHIR.  End 
of  the  thirteenth  century. 

1633  Fragment  from  the  border  of  a rosette. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  148. 

1634  Small  Square  of  Ornament. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  165. 

1635,  1636  CAIRO,  MOSQUE  OF  MELBAS  EL-HAYAT. 
Brackets,  with  stalactite  ornament. 

Jeladon,  Sale  Catalogue  of  Casts,  Nos.  169,  158. 

1637  CAIRO,  MOSQUE  OF  SHEIK  EL-GIOUCHI. 

Half  Spandrel. 

Jeladon,  Sale  Catalogue  of  casts.  No.  157. 

1638,  1639  CAIRO,  MOSQUE  OF  SHEIK  METOUALI. 
Frieze  Fragment,  and  corner  of  a border. 

Jeladon,  Sale  Catalogue  of  Casts,  Nos.  146,  147. 

1640-1644  CAIRO,  MOSQUE  OF  SULTAN  BARKUK.  1410. 
1640  Panel. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  162. 

1641-1643  Panels  from  the  balustrade  of  the  pulpit 
stairway. 

Coste,  U Architecture  arahe,  pi.  1 1,  Nos.  5,  6,  7. 

1644  Star-Shaped  Rosette. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  167. 

1645-1648  CAIRO,  MOSQUE  OF  SULTAN  HASAN.  1356- 
1359. 

1645  Fragment  of  one  of  the  vertical  bands  of  ornament 
at  each  side  of  the  entrance. 

Ward,  Historic  Ornament,  I,  fig.  361. 

Coste,  L Architecture  arahe,  pi.  24. 


224  SARACENIC  ART 

1646  Fragment  with  stalactite  ornament. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  166. 

1647,  1648  Rosettes. 

Jeladon,  Sale  Catalogue  of  Casts,  Nos.  151,  in. 

1649-1651  CAIRO,  OKELLA  AZHAR. 

1649  Fragment  of  a Frieze. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  143. 

1650  Panel. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  144. 

1651  Large  Rosette. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  100. 

1652  A,  B.  CAIRO,  OKELLA  KAlT  BEY.  1473. 

Quadrant  of  a Rosette,  and  a triangular  section  of  its 
border,  over  a doorway. 

Jeladon,  Sale  Catalogue  of  Casts,  Nos.  1 52,  1 53. 

1653-1663  CAIRO.  UNIDENTIFIED  DETAILS. 

1653  Corner  of  a Border  with  stalactite  ornament. 
Jeladon,  Sale  Catalogue  of  Casts,  No.  170. 

1654-1656  Panels. 

Jeladon,  Sale  Catalogue  of  Casts,  Nos.  7,  136. 

1657  Grille. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  163. 

1658  Fragment  of  a Frieze. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  83. 

1659  Corner  of  a Border. 

Jeladon,  Sale  Catalogue  of  Casts,  No.  83. 


1 660- 1 663  Small  Bosses,  circular  and  hexagonal. 


ARABIAN,  ETC.  225 

HISPANO-MORESQUE 

664,  1665  CORDOVA,  MOSQUE  (now  Cathedral).  Ninth 
and  tenth  centuries. 

Fragments  of  Panels  on  the  entrance  wall  of  the  Mihrab. 
Tenth  century. 

Girault  de  Prangey,  Monuments  arahes,  pis.  6,  7. 

666-1670  GRANADA,  PALACE  OF  THE  ALHAMBRA. 
Begun  by  Mohammed  1,,  1232-1272.  The  halls  and  courts 
mentioned  below  all  date  from  1333-1391. 

1666  Fragment  of  a Panel  in  the  Hall  of  Justice. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2680. 

1667  Half  Capital  from  the  Court  of  the  Myrtles. 

Jones,  Plans  of  the  Alhambra,  I,  pi.  5. 

1 668  Double  Capital  from  the  Court  of  the  Lions. 

Uhde,  Baudenkmdler,  I,  pi.  10. 

1669  Capital  from  a pavilion  in  the  Court  of  the  Lions. 
Junghaendel,  Die  Baukunst  Spaniens,  I,  pi.  22  A. 

1670  Panel  from  a pier  between  the  Court  of  the  Lions 
and  the  Hall  of  the  Two  Sisters. 

Uhde,  Baudenkmdler,  I,  pi.  12. 

671  SEVILLE,  ALCAZAR.  Mainly  1350-1369. 

Capital  from  the  Chamber  of  the  Moorish  Kings  (?). 
Junghaendel,  Die  Baukunst  Spaniens,  I,  pi.  35. 

672  TOLEDO,  PALACE  OF  THE  AYALAS. 

Fragment  of  a Frieze. 

Calvert,  Toledo,  pi.  122. 


GOTHIC  ART 


GOTHIC  ART 

XII-XV  CENTURIES 
FRENCH 

(in  gallery  38) 

1680-1689  AMIENS,  CATHEDRAL  OE  NOTRE-DAME. 
Erected  1220-1288,  by  Robert  de  Luzarchs,  and  Thomas 
and  Regnault  de  Cormont. 

1680  Base  of  the  Porch  of  St.  EiRMiN,the  north  door 
of  the  west  facade,  with  quatrefoils  representing  the  Signs 
of  the  Zodiac,  the  Labors  of  the  Year,  and  (at  each  end) 
prophecies  of  local  saints. 

In  Gallery  30. 

Marcou,  Album,  pis.  34,  82,  No.  6. 

1681  Pier  of  the  central  door  of  the  west  facade,  with  the 
figure  of  Christ,  called  the  “Beau  Dieu  d’ Amiens.” 
Durand,  Monographic,  I,  pi.  4. 

1682  Pier,  Lintel,  and  Part  of  the  Tympanum  from 
the  “Porte  de  la  Vierge  Doree,”  in  the  south  transept, 
with  figures  of  the  Virgin  and  Child,  and  the  Twelve  Apos- 
tles. 

In  Gallery  31. 

Durand,  Monographic,  I,  pi.  46. 

1683-1687  Details  from  the  Choir  Stalls,  by  Jean 
Turpin  and  others,  1508-1522. 

1683,  1684  Reliefs  decorating  the  ends  of  the  lower 
stalls:  Christ  mocked,  the  Crucifixion,  the  Descent  from 

the  Cross,  and  the  Entombment. 

1685,  1686  Panels  of  foliage  and  ribbon  ornament  from 
the  backs  of  the  upper  stalls. 


230 


GOTHIC  ART 


1687  Upper  Part  of  an  Arm-Rest  between  two  stalls. 
Durand,  Monographic,  II,  pis.  62,  84. 

1688  Bishop  Geoffroy  D’Eu.  Elfigy  from  his  tomb. 
Of  bronze.  About  1239. 

In  Gallery  31. 

Marcou,  Album,  II,  pi.  37. 

1689  Archbishop  Evrard  de  Fouilloy.  Effigy  from 
his  tomb.  Of  bronze.  About  1222. 

In  Gallery  30. 

Marcou,  Album,  II,  pi.  37. 

1690  BAYONNE,  CATHEDRAL.  1213-1544. 

Knocker  of  the  north  transept  door.  Of  gilt  bronze. 
Thirteenth  century. 

Marcou,  Album,  I,  pi.  70. 

1691  BLOIS,  CHURCH  OF  ST.  LAUMER.  Twelfth  century. 
Capital  from  a pier. 

In  Gallery  30. 

Baudot,  La  sculpture  jrangaise,  fig.  18. 

1692  BORDEAUX,  CATHEDRAL  OF  ST.  ANDRE.  Late 
thirteenth  century. 

Central  pier  and  Part  of  the  Tympanum  of  the  door- 
way of  the  north  transept,  with  the  figure  of  Archbishop 
Bertrand  de  Goth,  and  a representation  of  the  Last  Supper. 
In  Gallery  31. 

Marcou,  Album,  III,  pi.  6. 

1693  BOURGES,  CATHEDRAL  OF  ST.  ETIENNE.  Twelfth 
to  sixteenth  centuries. 

Lintel  of  the  north  door.  Twelfth  century. 

In  Gallery  30. 

Fleury,  Etudes,  fig.  5. 

1694  CAEN,  CHURCH  OF  NOTRE-DAME.  In  the  late 
Gothic  style.  Seventeenth  century. 

Fragment  from  a Window-frame  on  the  south  side. 
Pouzadoux,  Sale  Catalogue  of  Casts,  No.  80. 

1695  CAEN,  CHURCH  OF  ST.  PIERRE.  Thirteenth  to  six- 
teenth centuries. 


THE  CENTRAL  PORCH  OF  AMIENS  CATHEDRAL 


1 

''  I 


FRENCH 


23 


Small  Engaged  Capital.  Thirteenth  (?)  century. 
Pouzadoux,  Sale  Catalogue  of  Casts,  No.  251. 

1696-1709  CHARTRES,  CATHEDRAL  OF  NOTRE-DAME. 
Mainly  twelfth  and  thirteenth  centuries. 

1696  Biblical  Characters;  statues  from  the  side  of  the 
south  doorway  of  the  west  porch. 

Wilson,  Cathedrals,  p.  146. 

1697,  1698  Annunciation  and  Visitation.  Groups 
from  the  lintel  of  the  north  door  of  the  west  porch. 

In  Gallery  30. 

Wilson,  Cathedrals,  p.  146. 

1699,  1700  Elders  of  the  Apocalypse,  so-called;  fig- 
ures from  the  coving  of  the  central  door  of  the  west  porch. 
Paris,  Trocadero,  III,  pi.  237. 

Wilson,  Cathedrals,  p.  144. 

1701  Small  Pillar,  with  capital,  from  the  base  of  the 
central  doorway  of  the  west  porch. 

Marcou,  Album,  II,  pi.  28,  No.  i. 

1702  Fragment  OF  A Frieze,  with  foliage  and  flowers, 
over  a niche  in  the  north  porch.  Fourteenth  century. 
Nesfield,  Specimens,  pi.  24. 

1703  Finial  from  a pinnacle  of  the  south  porch. 

Paris,  Trocadero,  II,  pi.  158. 

1704  Capital  from  the  south  tower. 

Adams,  Receuil,  II,  pi.  137. 

1705-1708  Pilasters  from  the  Renaissance  screen  or 
wall  enclosing  the  Choir;  begun  by  Jean  Texier,  1514,  fin- 
ished two  centuries  later.  Of  stone. 

Masse,  City  of  Chartres,  p.  73. 

Marcou,  Album,  IV,  pis.  22,  86,  No.  22. 

1709  Panel  with  satyrs,  etc.,  in  ornament,  from  a pilas- 
ter of  the  above  screen. 


232  GOTHIC  ART 

1 7 10-1720  LAON,  CATHEDRAL  OF  NOTRE-DAME.  Twelfth 
to  fourteenth  centuries. 

1710,  1 71  I Fragments  of  the  Frieze  under  the  cornice. 

In  Gallery  30 

Paris,  Trocadero,  I,  pi.  9. 

Marcou,  Album,  II,  pi.  74. 

1712  Detail  of  the  Frame  of  the  Rose  Window  in 
the  west  face  of  the  south  transept. 

Marcou,  Album,  II,  pi.  2. 

171 3-1720  Capitals  from  the  triforium  of  the  Choir. 
Marcou,  Album,  I,  pis.  55,  56. 

Paris,  Trocadero,  I,  pis.  10,  19. 

1721  LAON,  CHURCH  OF  ST.  MARTIN. 

Abbess  Jeanne  de  Flandre.  Effigy  from  her  tomb. 
Of  marble.  About  1334. 

In  Gallery  31. 

Marcou,  Album,  HI,  pi.  12. 

1722  MANTES,  CHURCH  OF  NOTRE-DAME.  Twelfth  cen- 
tury. 

Fragment  of  a Pilaster  of  the  central  door  of  the  west 
facade. 

Marcou,  Album,  I,  pL  66. 

1723-1744  PARIS,  CATHEDRAL  OF  NOTRE-DAME. 
Founded  1163,  and  completed  in  the  thirteenth  century. 
The  facade  dates  from  the  beginning  of  the  thirteenth 
century. 

1 723  Model  of  the  Cathedral  on  a scale  of  i : 20,  made 
for  the  Willard  Collection  by  A.  Joly  of  Paris. 

1724  Madonna  AND  Child  Enthroned,  from  the  tym- 
panum of  the  south  doorway  of  the  west  facade,  “La 
Porte  de  Sainte  Anne.’' 

In  Gallery  31. 

Monographic  de  Notre-Dame,  pi.  18. 

1725  Ornamental  Hinge  with  scrolls  and  foliage,  from 
the  south  door  of  the  west  facade. 

Gonse,  U Art  gothique,  p.  172. 


THE  NAVE  OE  LAON  CATHEDRAL 


,]9 


FRENCH 


233 

1726  Relief  Called  May,  one  of  the  six  Temperatures 
or  Labors  of  the  Year,  from  the  jamb  of  the  north  door  of 
the  west  facade. 

In  Gallery  31. 

Monographie  de  Notre-Dame,  pi.  10. 

1 727- 1 73 1 Details  of  Ornament  from  the  archivolt 
of  the  north  door  of  the  west  facade. 

MsiYCou,  Album,  II,  pis.  12,  13,  14. 

1732  Gargoyle  from  the  outside  of  the  Choir. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2347. 

1 733,  1 734  Coronation  and  Glorification  of  the 
Virgin;  reliefs  set  into  the  exterior  of  the  Choir,  north 
side.  Fourteenth  century. 

Marcou,  Album,  III,  pis.  i,  2,  No.  i. 

1 73  5 Spandrel  from  the  arcade  in  the  ambulatory. 
Monographie  de  Notre-Dame,  pis.  63,  64. 

1736-1739  Small  Figures  and  Animals  decorating 
the  arch  mouldings  in  the  projecting  frieze  around  the 
ambulatory  of  the  Choir. 

Monographie  de  Notre-Dame,  pis.  68,  69. 

1740-1744  Capitals  from  the  choir. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  Nos.  1403- 
1405,  1622. 

Paris,  Trocadero,  I,  pi.  15. 

Monographie  de  Notre-Dame,  pi.  63. 

Adams,  Receuil,  I,  pi.  i. 

1745-1747  PARIS,  ABBEY  OR  CATHEDRAL  OF  ST. 
DENIS.  Consecrated  1140;  since  restored. 

1745  A,  B.  Fragments  of  the  Jamb  of  the  north  door. 
Dehio  and  Bezold,  Kirchliche  Baukunsi,  III,  pi.  345. 

1 746  Column,  sculptured  spirally,  from  the  side  of  a door- 
way. 

Baudot,  La  sculpture  frangaise,  12®  siecle,  pi.  16. 


234 


GOTHIC  ART 


1747  Upper  Part  of  the  Sceptre  from  a tomb,  with  a 
seated  figure  of  Charlemagne. 

Pcole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  183. 

1748-1755  PARIS,  PCOLE  DES  BEAUX-ARTS.  Fragments 
from  the  Hotel  de  la  Tremouille  (fourteenth  century),  now 
built  into  the  wall  of  the  Court  of  the  Ecole. 

1748  A,  B.  Column  fluted  spirally,  and  capital. 

1749  Base  of  a Window,  with  chimaeras. 

1750  Rosette,  above  two  cusped  arches. 

1751  Satyr,  at  the  intersection  of  the  mouldings  of  an 
arch  or  vault. 

1752  Boss  or  pendant. 

1753,  1754  Corbels,  with  leaf-ornament. 

1755  Moulding,  with  an  overhanging  leaf,  from  an  arch. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  Nos.  1323, 
1324,  2115,  2249,  890,  889,  2109,  2110,  2139. 

1756  PARIS,  PALAIS  DE  JUSTICE.  Built  in  the  thirteenth 
century,  and  restored  in  1852. 

Corbel  from  the  Tour  de  PHorloge  (?). 

Adams,  Receuil,  I,  pi.  68. 

1757,1758  PARIS,  SAINTE-CHAPELLE.  By  Pierre  de  Mon- 
tereau,  1245-1248. 

1757  Fragment  from  the  Lintel  of  the  porch  of  the 
lower  chapel. 

Adams,  Receuil,  I,  pi.  38. 

1758  Half  Capital,  from  the  wall  arcade  of  the  upper 
chapel. 

Decloux  and  Doury,  Histoire,  pi.  16. 

1759-1761  PARIS,  ABBEY  OF  ST.  MARTIN-DES-CHAMPS. 
Eleventh  to  thirteenth  centuries.  Now  occupied  by  the 
Conservatoire  des  Arts  et  Metiers. 


THE  INTERIOR  OF  THE  CENTRAL  DOORWAY  OF  RHEIMS  CATHEDRAL 


FRENCH  235 

1759,  1760  Capitals  from  the  reading  desk  in  the  Re- 
fectory, now  the  Library  of  the  Conservatoire. 

Lcole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  Nos.  2072, 
2423. 

Havard,  La  France  artistique,  VI,  p.  75. 

1761  Vault  Key,  or  boss. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2805. 

1762-1770  RHEIMS,  CATHEDRAL  OF  NOTRE-DAME. 
Founded  in  1212,  finished  in  the  fourteenth  century. 

1762,  1763  Crockets  from  a frieze  on  the  exterior  of  the 
nave,  near  the  transept. 

Paris,  Trocadero,  I,  pi.  9. 

Demaison,  Album,  pis.  100,  115. 

1764-1767  Details  of  the  Wall  Decoration  sur- 
rounding the  interior  of  the  main  doorway  of  the  west 
fafade. 

1764  Lower  Tier  of  Niches  and  figures,  with  panels 
of  foliage,  and  drapery  at  the  base. 

In  Gallery  30. 

1765  An  Apostle. 

In  Gallery  30. 

1766^1767  Panels  of  Foliage. 

Demaison,  Album,  pis.  285-287. 

1768  Portion  of  a Pier,  with  capital  and  base,  from  the 
nave. 

Vitry  and  Briere,  Documents,  pi.  70,  No.  5. 

1769  Half  Capital  from  the  triforium  of  the  nave. 

Paris,  Trocadero,  I,  pi.  16. 

1770  Part  of  the  Tympanum  and  Frame  of  a door- 
way (now  closed)  between  the  north  transept  and  the  Clois- 
ter, with  the  Madonna  and  Child,  enthroned,  in  the  lunette. 
Of  stone,  richly  colored  and  gilded. 

In  Gallery  31. 

Gailhabaud,  U Architecture,  II,  pi.  i. 


236  GOTHIC  ART 

1771-1783  ROUEN,  CATHEDRAL  OF  NOTRE-DAME. 
Chiefly  thirteenth  century. 

1771  Fragment  of  the  Jamb  of  the  north  door  of  the 
west  facade. 

In  Gallery  31. 

Lethaby,  Mediaeval  Art,  pi.  40. 

1772-1782  Panels  with  Biblical  subjects,  grotesques, etc., 
from  pedestals  in  the  transept  doorways,  the  Portail  des 
Librairies  and  the  Portail  de  Calende.  Fourteenth  cen- 
tury. 

Perkins,  Churches  oj  Rouen,  pp.  22-3 1 . 

1783  Capping  of  a Buttress  in  the  sacristy. 

Fcole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  21 1 1. 

1784  ROUEN,  FORMER  CHURCH  OF  ST.  ETIENNE-DES- 
TONNELIERS.  Sixteenth  century  (?). 

Corbel,  with  leaf-ornament. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2202. 
1785,  1786  ROUEN,  MUSEUM  OE  ANTIQUITIES. 

1785  Corbel  supporting  a niche  in  a reredos. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2138. 

1786  Part  of  an  Arm-Rest,  from  a choir  stall. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2203. 

1787  ST.  GERMER,  ABBEY  CHURCH. 

Altar  Front  with  a relief  of  the  Crucifixion.  Now  in 
the  Cluny  Museum,  Paris.  Of  stone.  Thirteenth  cen- 
tury. 

In  Gallery  31. 

Marcou,  Album,  II,  pi.  6. 

1788,  1789  SEES,  CATHEDRAL  OF  NOTRE-DAME.  Thir- 
teenth and  fourteenth  centuries. 

1788  Boss  from  the  vault  of  an  apsidal  chapel. 

Paris,  Trocadero,  I,  pi.  15. 

1789  Small  Engaged  Capital. 

Paris,  Trocadero,  1,  pi.  23. 


FRENCH  AND  ITALIAN 


237 

1790  SENLIS,  CATHEDRAL.  Twelfth  to  sixteenth  centuries. 
Pedestal,  with  chimaeras,  of  a column  in  the  central  door- 
way of  the  west  facade.  1 1 54. 

Vitry  and  Briere,  Documents,  pi.  36,  No.  10. 

1791,  1792  SENS,  CATHEDRAL  OF  ST.  ETIENNE.  Begun 
1124,  with  additions  of  the  fifteenth  and  sixteenth  centuries. 

1791  A Wise  Virgin;  one  of  the  figures  on  the  jamb  of 
the  central  doorway  of  the  west  facade.  Twelfth  century. 
In  Gallery  31. 

Lethaby,  Mediaeval  Art,  pi.  36. 

1792  Portion  of  the  Base  of  the  south  doorway  of  the 
west  facade,  with  figures  in  niches.  Twelfth  century. 

In  Gallery  31. 

Marcou,  Album,  III,  pi.  9. 

1793  TOULOUSE,  MUSEE  DES  BEAUX-ARTS. 

Fragment  of  a Large  Capital,  with  leaf-ornament.  Fif- 
teenth century. 

Marcou,  Album,  HI,  pi.  50,  No.  2. 

1794,1795  TROYES,  CATHEDRAL  OF  ST.  PIERRE.  Thir- 
teenth to  sixteenth  centuries;  lately  restored. 

Fragments  of  Moulding  from  the  organ,  decorated  with 
a bird  and  a leaf.  Fifteenth  century. 

Paris,  Trocadero,  I,  pi.  8;  II,  pi.  179. 

1796  TROYES,  MUSEUM. 

Corbel,  with  a seated  figure  and  leaf-ornament,  from  the 
Convent  des  Cordeliers.  Fifteenth  century, 

Marcou,  Album,  III,  pi.  50,  No.  i. 

1797-1799  UNIDENTIFIED. 

Panels  of  Furniture.  Fifteenth  century. 

Mathivet,  Sale  Catalogue  of  Casts,  Nos.  925-927, 

ITALIAN 

(in  gallery  38) 

1800  A-C.  BOLOGNA,  CHURCH  OF  SAN  DOMENICO. 

Capitals  of  pilasters  in  the  base  of  the  tomb  of  Taddeo 
Pepoli,  by  Jacopo  Lanfrani.  Of  marble.  About  1337. 


238  GOTHIC  ART 

1801  FLORENCE,  CAMPANILE.  By  Giotto;  begun  1334. 
Agriculture;  a panel  from  the  east  side,  near  the  base; 
by  Andrea  Pisano,  1336-1345. 

In  Gallery  33. 

Reymond,  La  sculpture  florentine,  1,  pp.  122,  125. 

1802  A-F.  FLORENCE,  CHURCH  OF  OR  SAN  MICHELE. 
Details  of  the  Tabernacle  by  Andrea  Orcagna, 
1348-1359.  Of  marble. 

A.  Death  and  Assumption  of  the  Virgin;  relief  in  the 
back  of  the  tabernacle. 

In  Gallery  33. 

B.  Panel  in  the  frame  under  the  above  relief. 

C.  Fragment  of  a Spiral  Column,  in  the  frame. 

D.  E.  Capitals  of  C. 

F.  Pedestal  of  C. 

Waters,  Five  Italian  Shrines,  pp.  123,  130,  142. 

1803-1807  MILAN,  CATHEDRAL.  1386-1577. 

1803  Tympanum  over  the  door  of  the  south  sacristy.  Of 
marble;  by  the  German,  Hans  von  Fernach,  1393. 

In  the  lunette  are:  The  Pieta,  the  Madonna  and  Child  with 
St.  Andrew  and  St.  John  the  Baptist,  and  the  “Madonna 
del  Mantello.”  In  the  border  the  groups  beneath  the  can- 
opies are:  The  Annunciation,  the  Visitation,  the  Adoration 
of  the  Magi,  the  Presentation  in  the  Temple,  the  Flight  into 
Egypt,  the  Slaughter  of  the  Innocents.  On  the  pinnacle  is 
a crucifix. 

In  Gallery  33. 

Schubring,  Mailand,  p.  349. 

1804  Finial  of  one  of  the  Pinnacles  at  either  side 
of  the  holy-water  basin  in  the  south  sacristy. 

Boito,  II  duomo  di  Milano,  pi.  27. 

1805  Leaf-ornament  from  the  corner  of  a capital. 
Pierotti,  Sale  Catalogue  of  Casts,  No.  52. 


ORCAGNA  S TABERNACLE  IN  OR  SAN  MICHELE,  FLORENCE 


■1. 


ITALIAN  239 

1806,  1807  Corbels  or  pendants  with  foliage  ornament. 
Pierotti,  Sale  Catalogue  of  Casts,  Nos.  1325,  A44. 

1808  MILAN,  OSPEDALE  MAGGIORE.  Begun  in  1456,  in 
the  Renaissance  style,  by  Filarete;  continued  in  the  Gothic 
style  by  Lombard  architects;  and  completed  by  Ricchini, 
after  1624. 

Window  Frame,  in  the  Gothic  style,  from  the  fafade  by 
Guiniforte  Solari  and  others.  Of  terracotta;  about  1465. 
Schiitz,  Die  Renaissance,  II,  pi.  123.  (Abth.  A,  Heft  II). 

1809  A,  B.  PISA,  BAPTISTERY. 

Samson,  and  a Virtue.  Statuettes  from  the  pulpit  by 
Niccolo  Pisano.  Of  marble.  Completed  1260. 

In  Gallery  33. 

Reymond,  La  sculpture  florentine,  I,  p.  65. 

Freeman,  Italian  Sculpture,  p.  42. 

1810  SIENA,  CATHEDRAL. 

Pulpit  by  Niccolo  Pisano.  Of  white  marble,  with  gran- 
ite columns;  1266-1268. 

The  figures  at  the  base  of  the  central  column  are  the  Lib- 
eral Arts:  Grammar,  Logic,  Rhetoric,  Philosophy,  Arith- 
metic, Geometry,  Music,  and  Astronomy.  Above  the  col- 
umns are  statuettes  of  the  Virtues:  Humility,  Justice, 
Prudence,  Temperance,  Fortitude,  Faith,  Hope,  and 
Charity.  On  the  parapet,  beginning  at  the  right  of  the 
stairway-opening,  the  sequence  of  the  statuettes  and  re- 
liefs is  as  follows:  The  Virgin  of  the  Annunciation,  the 

Nativity,  a Priest,  the  Adoration  of  the  Magi,  the  Virgin 
and  Child,  the  Presentation  in  the  Temple,  and  the  Flight 
into  Egypt,  Angels  with  Trumpets,  the  Slaughter  of  the 
Innocents,  Genealogical  Tree  of  Christ,  the  Crucifixion, 
the  lectern  with  the  symbols  of  the  Evangelists,  two  reliefs 
of  the  Last  Judgment,  with  Christ  as  Judge  between  them, 
Angels  sounding  Trumpets  of  Doom. 

In  Gallery  17. 

Reymond,  La  sculpture  florentine,  I,  p.  69. 

Gilman,  Manual,  p.  9. 

1811  VENICE,  CHURCH  OF  SAN  GIACOMO  DALE*  ORIO. 
Rebuilt  in  the  thirteenth  and  sixteenth  centuries. 
Capital. 


240  GOTHIC  ART 

1812  VENICE,  CHURCH  OF  SANTO  STEFANO.  Fourteenth 
century. 

Leaf-ornament  from  the  arch  over  the  entrance  doorway. 
Paoletti,  U architettura,  I,  pi.  8,  No.  i. 

1813-1832  VENICE,  DUCAL  PALACE.  Fourteenth  and  fif- 
teenth centuries,  with  Renaissance  additions  of  the  six- 
teenth century. 

1813  Lion  Bracket,  under  the  balcony  of  one  of  the  great 
windows  of  the  facade. 

Paoletti,  U architettura,  I,  pi.  20. 

1814-1824  Griffes  from  the  bases  of  columns  in  the  ar- 
cade of  the  second  story. 

C/.  Ruskin,  Stones  oj  Venice,  I,  pl.  12. 

1825-1827  Rosettes  from  the  friezes  over  the  arcades  in 
the  facade. 

Paoletti,  U architettura,  I,  pl.  13. 

1828  Spandrel,  with  lion’s  head,  from  the  arcade  in  the 
second  story  of  the  facade. 

Paoletti,  U architettura,  I,  pl.  13. 

1829  Capital  from  the  “Adam  and  Eve”  corner  of  the 
lower  arcade. 

Gusman,  Venise,  p.  70. 

1830  Lion’s  Head  and  open  book  in  relief. 

183  I Detail  of  the  Frieze  of  the  vestibule  leading  to  the 
Giant’s  Staircase,  by  Giovanni  and  Bartolommeo  Buon. 
Fifteenth  century. 

1832  Panel  of  ornament  from  the  Golden  Staircase,  by 
Andrea  Sansovino,  1577. 

Lelli,  Sale  Catalogue  of  Casts,  No.  1337. 

1833,  1834  VENICE.  UNIDENTIFIED  DETAILS. 

1833  Fragment  with  a spiral  moulding  over  small  trefoil 
arches.  Of  wood. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  104. 


ITALIAN  AND  GERMAN  24I 

1834  Fragment  of  a Frieze  with  spiral  moulding.  Of 
wood. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  337. 


GERMAN 

(in  gallery  38) 

1835-1837  COLOGNE,  MUSEUM. 

Panels,  with  a maiden,  a knight,  and  a minstrel,  in  or- 
nament. 

Stoltzenburg,  Sale  Catalogue  of  Casts,  No.  38D. 

1838-1840  MARBURG. 

Fragments  of  Friezes,  with  foliage  decoration. 
Stoltzenburg,  Sale  Catalogue  of  Casts,  Nos.  83,  SR2,  82. 

1841-1845  MARBURG,  CHAPEL  OF  THE  PALACE.  1288. 
Capitals,  with  naturalistic  leaf-ornament. 

Statz  und  Ungewitter,  Gothisches  Musterbuch,  pis.  29,  30. 

1846  NUREMBERG,  CHURCH  OE  ST.  LORENZ.  Thirteenth 
and  fourteenth  centuries. 

Model  of  the  Rose  Window  in  the  west  facade.  Of 
stone. 

Ree,  Nuremberg,  p.  39. 

1847-1849  ULM,  CATHEDRAL. 

Panels  from  the  choir  stalls,  by  Jorg  Syrlin  the  Elder, 
1469-1474.  Of  oak. 

Verein  fur  Kunst,  Zur  Architektur,  pis.  4,  5. 

1850.  1851  UNIDENTIFIED. 

1850  Capital,  ornamented  with  foliage.  Thirteenth 
century. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2118. 

1851  A-J.  Panels  from  a wooden  chest. 

Stoltzenburg,  Sale  Catalogue  of  Casts,  Nos.  39A,  B,  C,  D. 


242  GOTHIC  ART 

CASTS  FROM  BUILDINGS  IN  THE  GOTHIC  STYLE,  BUT  OF 
THE  NINETEENTH  CENTURY 

1852-1854  MAINZ,  CATHEDRALOFST.  MARTIN.  Twelfth 
to  fifteenth  centuries,  with  extensive  restorations  of  the 
nineteenth  century. 

1852  Small  Spandrel,  ornamented  with  an  angel  and 
leaves. 

Stoltzenburg,  Sale  Catalogue  of  Casts,  B 396. 

1853,  1854  Vault  Keys,  one  with  human  heads,  and  one 
with  animals,  from  the  Chapel  of  the  Virgin,  which  was 
restored  in  the  Gothic  style  in  1875. 

Schneider,  Der  Dom  {u  Main^,  p.  99. 

1855-1858  MUNICH,  NEW  RATHAUS.  Designed  by  Hauber- 
risser,  1874. 

Fragments  of  Friezes,  with  leaf-ornament.  Of  wood. 
Eggert,  Sammlung,  pis.  ii,  33. 

Hauberrisser,  Das  neue  Rathhaus. 


FLEMISH 

(in  gallery  38) 


1859,  i860  GHENT. 

Corbels,  each  with  a face  in  foliage. 

Stoltzenburg,  Sale  Catalogue  of  Casts,  No.  95. 

1861,  1862  HAARLEM,  CHURCH  OF  ST.  BAVO. 

Panels,  with  shields  and  helmets  in  ornament,  from  the 
lower  part  of  the  choir  screen.  By  Diderik  Sybrandszoon 
of  Malines,  1510.  Of  oak,  painted. 

Van  Ysendyck,  Documents  classes,  Ser.  I,  v.  I,  Litt.  C,  pi.  46. 

1863,  1864  KIDRICH. 

Panels  with  foliated-scroll  ornament. 

Stoltzenburg,  Sale  Catalogue  of  Casts,  No.  38C. 


GERMAN,  ETC.  243 

1865,  1866  ROTTERDAM,  CHURCH  OF  ST.  LAWRENCE. 
Begun  1412. 

Half  Capitals,  ornamented  with  monks. 

Stoltzenburg,  Sale  Catalogue  of  Casts,  Nos.  376D,  366A. 

1867,  1868  YPRES,  HOTEL  DE  VILLE. 

Corbels  in  the  old  Salle  Echevinale.  Of  wood.  Nine- 
teenth-century restoration  in  Gothic  style. 

Hymans,  Bruges  et  Ypres,  p.  87. 

Stoltzenburg,  Sale  Catalogue  of  Casts,  No.  loi. 

1869-1871  YPRES. 

Bases  of  Clustered  Columns,  of  the  thirteenth,  four- 
teenth and  fifteenth  centuries,  respectively. 

Stoltzenburg,  Sale  Catalogue  of  Casts,  Nos.  1 16,  277  (?). 


ENGLISH 

(in  gallery  38) 

1872  CANTERBURY,  CATHEDRAL. 

Fragment  of  Diaper  Ornament,  from  a monument  in 
the  Choir. 

Bloxam,  Gothic  Architecture,  I,  p.  222. 

1873,  1874  CHESTER,  CATHEDRAL.  Thirteenth  to  fif- 
teenth centuries. 

1873  Fragment  of  Moulding. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  1106. 

1874  Double  Capital,  with  simple  mouldings. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  1103. 

1875,  1876  ELY,  CATHEDRAL.  Eleventh  to  fifteenth  cen- 
turies. 

1875  Corbel  from  a corner  of  the  Prior’s  Gate,  in  the 
Cloister.  Norman  style  of  the  late  eleventh  century. 
Bentham,  History  of  Ely,  pi.  7. 

1876  Fragment,  showing  mouldings  and  cusps  from  the 
wall  arcade  of  the  Lady  Chapel,  1321-1349. 

Merivale,  St.  Etheldreda  Festival,  plate  at  end. 


244  GOTHIC  ART 

1877  GREAT  MALVERN,  PRIORY  CHURCH.  Twelfth  to 
fifteenth  centuries. 

Corbel  or  Pendant,  from  the  clerestory  (?).  Fifteenth 
century. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  187. 

Murray,  Worcester,  p.  55. 

1878  HOLME. 

Fragment,  with  panel,  frieze,  and  mouldings. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  1677. 

1879-1881  LLANDAFF  (WALES),  CATHEDRAL.  Twelfth 
to  fourteenth  centuries;  restored  1843. 

1879  Fragment  of  Ornament,  showing  a head  with  eyes 
blindfolded. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  249. 

1880,  1881  Clustered  Capitals,  with  overhanging  leaf- 
ornament. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  Nos.  239,  241 . 

1882-1888  LINCOLN,  CATHEDRAL.  Founded  1074,  and 
completed  in  the  sixteenth  century. 

1882  Spandrels  from  the  triforium  of  the  choir,  called  the 
“Angel  Choir.”  1255-1280. 

In  the  central  one  is  a representation  of  the  Expulsion  of 
Adam  and  Eve. 

Wild,  History  and  Antiquities,  pi.  14,  fig.  17;  pi.  15. 

1883  Decoration  of  a Spandrel  (?),  with  a human- 
headed bird,  and  foliated  scrolls. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  273. 

1884-1886  Capitals,  with  overhanging  leaves. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  Nos.  569,  342,  344. 


ENGLISH  245 

1887,  1888  Poppy-Heads,  from  seat-ends  in  the  choir 
stalls.  Of  wood.  1360-1380. 

Shaw,  Encyclopedia,  pi.  16. 

1889  LONDON,  CHAPEL  OF  ST.  STEPHEN,  Westminster 
Hall.  Begun  1292,  burned  1834. 

Fragment  of  Moulding  from  the  arch  over  the  south 
door  in  the  vestibule,  built  about  1335. 

Mackenzie,  Architectural  Antiquities,  pi.  10,  No.  i. 

1890-1904  LONDON,  WESTMINSTER  ABBEY.  Mainly  late 
thirteenth  century;  the  Chapter  House  dates  from  1250. 

1890  Fragment  of  Moulding,  with  seated  figures  and 
foliage,  from  the  doorway  between  the  Cloister  and  the 
Chapter  House. 

Lethaby,  Westminster  Alley,  fig.  13. 

1891  Spandrel,  from  the  wall  arcade  of  the  Chapter  House. 
Hiatt,  Westminster  Alley,  p.  117. 

1892  Fragment  of  Moulding  with  foliage  ornament, 
from  the  Chapter  House. 

Royal  Architectural  Museum,  Sale  Catalogue  of  Casts,  No. 

179. 

1893  Medallion,  with  an  allegorical  figure,  ornamenting 
the  middle  range  of  windows  in  the  north  transept. 

Neale,  History  of  Westminster  Alley,  p.  49. 

1894  Fragment  of  Moulding  with  oak-leaf  ornament. 
Fcole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2254. 

1895  Half  Capital,  with  two  angels  holding  a shield  of 
the  Plantagenets. 

Royal  Architectural  Museum,  Sale  Catalogue  of  Casts,  No. 
852. 

1896-1901  Engaged  Capitals  with  overhanging  leaves. 
Royal  Architectural  Museum,  Sale  Catalogue  of  Casts,  Nos. 
309,  333.  335<  651,  652. 

1902  Griffe  from  the  base  of  a column. 

Royal  Architectural  Museum,  Sale  Catalogue  of  Casts,  No. 
160. 


246 


GOTHIC  ART 


1903  Boss  from  the  intersection  of  vault  ribs. 

Royal  Architectural  Museum,  Sale  Catalogue  of  Casts,  No. 
328. 

1904  Choir-Stall  Seat,  or  '‘miserere,”  from  Henry  VI Fs 
Chapel.  Of  oak.  1502-1520. 

Phipson,  Choir  Stalls,  pi.  90,  fig.  7. 

1905  LUDLOW,  CHURCH  OF  ST.  LAWRENCE.  Twelfth  to 
fourteenth  centuries. 

Poppy-Head,  of  wood. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  747. 

1906  OXFORD,  CHAPEL  OF  ALL  SOULS’  COLLEGE. 
Choir-Stall  Seat,  or  “miserere.”  Of  wood.  1442. 
Phipson,  Choir  Stalls,  pi.  51,  fig.  i. 

1907-1909  SALISBURY  CATHEDRAL.  1220-1260. 

1 907  Small  Fragment  of  moulding,  with  a rose  and  leaves. 
Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  99. 

1908  Fragment  of  a Large  Capital  with  leaf-orna- 
ment. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  637. 

1909  Finial  from  the  tomb  of  Bishop  Bridport  (d.  1262), 
in  the  south  transept. 

Britton,  Architectural  Antiquities,  V,  pi.  48. 

1910,  1911  SHERBORNE,  ABBEY  CHURCH  OF  ST.  MARY. 
Almost  entirely  restored  about  1850. 

Poppy-Heads. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  Nos.  825,  806. 

1912,  1913  SOUTHWELL  MINSTER.  Thirteenth  century. 
1912  Clustered  Capital. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  619. 


ENGLISH,  ETC. 


247 

1913  Capital  and  fragment  of  Arch  Mouldings  from 
the  wall  arcade  of  the  vestibule  leading  to  the  Chapter 
House. 

Dimock,  Cathedral  Church  of  Southwell,  p.  88. 

1914  STONE,  CHURCH  OF  ST.  MARY. 

Spandrel  from  the  wall  arcade  of  the  chancel.  Built 
about  the  middle  of  the  thirteenth  century. 

Ward,  Historic  Ornament,  I,  fig.  400. 

1915,  1916  YORK,  MINSTER.  Eleventh  to  fifteenth  cen- 
turies. 

Clustered  and  Engaged  Capitals. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  Nos.  429,  839. 

1917,  1918  UNIDENTIFIED. 

1917  Fragment  of  Moulding  and  cusp  from  an  arch. 
Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  453. 

1918  Boss  from  a vault. 

SPANISH 

(in  gallery  38) 

1919  SARAGOSSA,  CATHEDRAL  OF  LA  SEO.  ii  19-1520. 
Model  of  the  Doorway.  In  the  Armeria  Real,  Madrid. 
Kreittmayr,  Sale  Catalogue  of  Casts. 


1920-1971  UNIDENTIFIED  CASTS  OF  GOTHIC  DETAILS. 
In  Gallery  38. 

1920  Fragment  of  Leaf-Ornament  from  the  lintel  of 
a door. 

1921  Pendant  with  leaf-ornament. 

1922-1926  Fragments  of  Friezes  with  foliage-orna- 
ment. 

1927  Fragment  with  leaves  and  fruit. 


248 


GOTHIC  ART 


1928  Fragment  with  a lion's  head  in  profile. 

1929  Crockets  at  the  angle  of  arch  mouldings. 

1930  Fragment  of  Mouldings  ornamented  with  small 
cusped  arches. 

193 1 -1 933  Rosettes. 

1934  Griffe  from  the  base  of  a column. 

1935-1937  Fragments  of  leaf-ornament. 

1938-1941  Gargoyles. 

1942  Base  of  a small  pilaster. 

1943  Fragment  of  a Frieze  with  crockets  and  leaves. 

1944  Capital  of  a small  pilaster. 

1945  Small  Capital  in  an  angle. 

1946  Small  Figure  of  a Saint  with  hands  clasped. 

1947,  1948  Angels  Bearing  Candelabra,  from  a small 
arcade. 

1949  Small  Corbel  with  a crouching  man. 

1950  Fragment  of  a Frieze  or  cornice  with  a head  in 
foliage. 

1 95  I Small  Corbel  with  a lion’s  head. 

1952  Crocket  on  an  angle. 

1953  Censer,  from  a tomb. 

1954  Small  Niche  with  pendant  and  canopy. 

1955  Finial  over  a small  arch. 

1956-1958  Small  Corbels  or  pendants  with  angels. 


UNIDENTIFIED 


249 


1959  Fragment  of  foliage  from  a capital. 

1960  End  of  a Stole,  from  a tomb. 
1961-1966  Small  Capitals. 

1967-1970  Fragments  OF  Crockets. 

1 97 1 Double  Capital. 


RENAISSANCE  ART 


RENAISSANCE  ARCHITECTURE  AND  ORNA- 
MENT 

XV-XVII  CENTURIES 
ITALIAN 

(in  gallery  38) 

2001  BRESCIA,  MUSEO  CIVICO. 

Panel  from  the  tomb  of  Marcantonio  Martinengo,  form- 
erly in  the  Church  of  San  Cristo.  By  Stefano  Lambertis, 
with  medallions  by  Gaspari  da  Cairano.  Of  marble.  1530. 
Paravicini,  Die  renaissance  Architekiur,  pi.  36. 

2002  CREMONA,  PALAZZO  PUBBLICO,  now  the  Municipio. 
Portion  of  the  Frieze  and  Cornice  of  a chimney-piece. 
By  Giovanni  Gaspari  Pedone,  1502.  Of  marble. 

Pierotti,  Sale  Catalogue  of  Casts,  No.  19. 

2003-2006  CREMONA, TRECCH I PALACE.  Fifteenth  century. 
Capitals  of  engaged  columns. 

Pierotti,  Sale  Catalogue  of  Casts,  No.  18. 

2007  A-G.  FLORENCE,  CATHEDRAL  OF  SANTA  MARIA 
DEL  FIORE. 

Details  from  the  Second  Doorway  on  the  north,  called 
the  “Porta  della  Mandorla”;  by  Niccold  d’Arezzo. 
About  1408. 

A.  Detail  from  the  outermost  pilaster. 

B-D.  Fragments  of  the  second  pilaster  and  arch. 

E,  F.  Half  of  the  architrave  and  lower  part  of  the  jamb. 

G.  Portion  of  the  archivolt. 

Gebhart,  Florence,  p.  44. 


254  RENAISSANCE  ARCHITECTURE 

2008,  2009  FLORENCE,  CHURCH  OF  THE  SANTO  SPI- 
RITO.  Pilaster  Capitals  from  the  Sacristy,  by  Giuliano 
da  Sangallo  and  Cronaca,  1489-1492. 

Brochure  series.  III,  pi.  32. 

2010  FLORENCE,  CHURCH  OF  SANTA  CROCE. 

Details  from  the  Erame  of  a Relief  representing  the 
Annunciation,  by  Donatello,  1425-1430  (?).  Of  pietra 
serena. 

A.  Portion  of  the  pediment,  cornice,  and  entablature, 
and  the  pilaster  capital. 

B.  Portion  of  the  frieze  at  the  base,  with  a console 
and  the  pilaster  base. 

In  Gallery  33. 

Bode,  Denkmdler,  pi.  71. 

2011  A,  B.  ELORENCE,  CHURCH  OF  THE  SANTA  TRINITA. 
Sculptured  Half  Columns  from  an  altar  in  a chapel,  by 
Benedetto  da  Rovezzano,  1552.  Of  marble. 

Reymond,  La  sculpture  Florentine,  IV,  p.  45. 

2012  ELORENCE,  MUSEO  ARCH EOLOG ICO. 

Corner  of  the  Base  of  the  pedestal  of  the  statue  called 
“the  Idolino.'"  Of  bronze.  Fifteenth  or  sixteenth  cen- 
tury. 

Reymond,  La  sculpture  Florentine,  III,  p.  43. 

2013  FLORENCE,  PALAZZO  CEPPARELLO. 

Niche  by  Benedetto  da  Rovezzano,  now  in  the  Bargello, 
Elorence.  Of  marble.  Sixteenth  century. 

Reymond,  La  sculpture  Florentine,  IV,  p.  44. 

2014  ELORENCE,  PALAZZO  VECCHIO. 

Doorway  between  the  Sala  delFOrologio  and  the  Sala  d' 
Udienza.  By  Benedetto  da  Maiano,  1480-1481.  Of  marble. 
Schiitz,  Die  Renaissance,  I,  pi.  84  (Abth.  C,  Heft  VII). 

2015  A.  B.  LONDON,  WESTMINSTER  ABBEY. 

Small  Pilaster  and  part  of  a frieze,  from  the  tomb  of 
Henry  VH.  By  Pietro  Torrigiano,  1519.  Of  bronze. 
Neale,  History  of  IVestminster  Abbey,  pi.  58. 


ITALIAN 


255 

2016  A-C.  MUNICH,  BAVARIAN  NATIONAL  MUSEUM. 
Panels  from  a Bridal  Chest.  Of  linden.  Sixteenth 
century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  Nos.  1013,  1014. 

2017-2021  PAVIA,  THE  CERTOSA.  By  Giovanni  Antonio 
Amadeo  and  others.  Late  fifteenth  and  early  sixteenth 
centuries. 

2017,  2018  Pilaster  Panels  from  the  facade.  Of 
white  marble. 

Durelli,  La  Certosa  di  Pavia,  pis.  41  and  A. 

2019  Frame  of  a Window  in  the  west  fagade,  at  the  right 
of  the  entrance. 

Durelli,  La  Certosa  di  Pavia,  pi.  30. 

2020  Capital  from  the  Small  Cloisters,  1463-1478. 
Beltrami,  La  Certosa  di  Pavia,  pi.  36. 

2021  Spandrels  from  the  Great  Cloisters,  with  terracotta 
decoration  by  Rinaldo  de  Stauris.  Second  half  of  the 
fifteenth  century. 

Beltrami,  La  Certosa  di  Pavia,  pi.  40. 

2022  PISA,  CATHEDRAL. 

Part  of  the  Frieze  of  an  altar  by  Stagio  Stagi,  said  to  be 
a copy  of  a Roman  fragment  in  the  Lateran  Museum, 
Rome.  Sixteenth  century. 

Lelli,  Sale  Catalogue  of  Casts,  No.  959. 

2023  ROME,  PALAZZO  DELLA  CANCELLERIA.  By  Bram- 
ante,  1495-1505. 

Window-Frame  and  Balcony  on  the  facade. 

In  Gallery  36. 

Anderson,  Architecture  in  Italy,  pis.  31,  32. 

2024  ROME,  VATICAN,  SISTINE  CHAPEL. 

Panel  from  the  balustrade  enclosing  the  Choir.  By 
Mino  da  Fiesole  and  others,  1473-1481.  Of  marble. 
Schiitz,  Die  Renaissance,  II,  pi.  213  (Abth.  C,  Heft  VII). 


256  R E N A I S S A N C E A R C H I T E CT  U R E 

2025,2026  ROME,  CHURCH  OF  SANTA  MARIA  DEL  PO- 
POLO. 

2025  A-C.  Panels  from  the  tomb  of  Girolamo  Basso,  in 
the  Choir.  By  Andrea  Sansovino,  1505-1507.  Of  marble. 
Bode,  Denkmdler,  pi.  533. 

2026  A,  B.  Panels  from  the  tomb  of  Ascanio  Maria 
Sforza,  in  the  Choir.  By  Andrea  Sansovino,  1505-1507. 
Of  marble. 

Bode,  Denkmdler,  pi.  534. 

2027  ROME,  CHURCH  OF  ST.  PETER. 

Borders  at  the  lower  corners  of  the  central  doors,  by  An- 
tonio Filarete,  1439-1445.  Of  bronze. 

Bode,  Denkmdler,  pi.  188. 

2028  ROME,  VATICAN  MUSEUM. 

Frieze  Fragment  with  garlands  of  fruit  and  putti. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1511. 

2029  SIENA,  CATHEDRAL. 

Niche  forming  the  back  of  a choir  stall.  By  Bartolommeo 
Neroni,  1567.  Of  wood. 

Schiitz,  Die  Renaissance,  HI,  pi.  252  (Abth.  D,  Heft  I). 

2030  SIENA,  CONVENT  OF  THE  OSSERVANZA  (?).  1423- 

1485. 

Part  of  a Pilaster  Panel,  with  vases  and  fruit. 
Oakeshott,  Detail  and  Ornament,  pi.  35. 

2031  SIENA,  PALAZZO  DEL  MAGNIFICO. 

Flag  Bracket  from  the  facade.  By  Giacomo  Cozzarelli, 
1508.  Of  bronze. 

Miintz,  Florence,  p.  108. 

2032  TORTONA,  CHURCH  OF  SAN  FRANCESCO. 

Part  of  a Sarcophagus  called  “dei  Greci.” 

Gilman,  Manual,  No.  575. 

2033-2039  VENICE,  CHURCH  OF  SANTA  MARIA  DEI 
MIRACOLI. 

2033-2035  Pilaster  Panels,  in  the  Choir.  By  Pietro 
Lombardo,  1480-1489. 

Jones,  Grammar,  p.  126. 


2023 WINDOW  ON  THE  PALAZZO  CANCELLERIA,  ROME 


■v;V 


ITALIAN  AND  FRENCH  257 

2036-2039  Panels  from  the  pedestals  of  the  pilasters 
supporting  the  choir  arch. 

Paoletti,  L’architettura,  II,pt.  2,  pi.  20. 

2040  VENICE,  CHURCH  OE  THE  ERARI. 

Corner  of  a Border  from  a tomb. 

Eelli,  Sale  Catalogue  of  Casts,  No.  18. 

2041  VENICE,  OSPEDALE  CIVILE,  formerly  the  Scuola  di 
San  Marco.  By  Pietro  Lombardo  and  sons.  1485-1495. 
Semicircular  Portions  at  the  base  of  one  of  the  columns 
at  the  entrance. 

Paoletti,  Uarchitettura,  II,  pi.  97. 

2042-2044  UNIDENTIEIED. 

2042  Corner  of  a Chest,  with  a putto  and  shield. 

Eelli,  Sale  Catalogue  of  Casts,  No.  1320. 

2043  Fragment  of  a Panel  or  pilaster, 

Eelli,  Sale  Catalogue  of  Casts,  No.  7. 

2044  Eragment  of  a Panel  or  pilaster,  with  flowers  and 
spiral  bands. 

Eelli,  Sale  Catalogue  of  Casts,  No.  320. 


FRENCH 

(in  gallery  38) 

2046  AIX,  CATHEDRAL  OF  ST.  SAUVEUR.  Eleventh 
to  seventeenth  centuries. 

Doors  of  the  West  Eaqade,  with  reliefs  representing  pro- 
phets and  sibyls,  and  a group  of  the  Madonna  and  Child 
on  the  central  pier.  Of  wood  and  stone.  1505-1508. 

In  Gallery  17. 

Wilson,  Cathedrals,  p.  33. 

2047-2049  ANET,  CHATEAU.  By  Philibert  Delorme  and 
Jean  Goujon.  1548. 

2047,  2048  Eigures  in  Relief  holding  torches,  formerly 
above  the  archivolt  of  the  entrance  portal.  Present  lo- 
cation unknown.  Of  bronze. 


258  RENAISSANCE  ARCHITECTURE 

Roussel,  Histoire  du  Chateau,  pp.  30-34,  pi.  7. 

Re  veil,  CEuvre  de  Jean  Goujon,  p.  33,  pis.  33,  34. 

2049  Upper  Panel  of  a door,  now  in  the  Library  of  the 
Ecole  des  Beaux-Arts,  Paris. 

Daly,  Moiijs  historiques,  I,  Style  Henri  II,  pi.  4. 

2050,2051  BEAUVAIS,  CATHEDRAL  OF  ST.  PIERRE. 
Thirteenth  to  sixteenth  centuries. 

Panels  of  the  doors  of  the  south  portal.  By  Jean  le  Pot. 
1548.  Of  oak. 

Gonse,  La  sculpture  jrangaise,  p.  91. 

2052  CAEN,  CHURCH  OF  ST.  PIERRE.  Thirteenth  to  six- 
teenth centuries. 

Panel  over  the  door  in  a chapel.  Sixteenth  century. 
Paris,  Trocadero,  I,  pi.  75. 

2053  DIJON,  CHURCH  OF  ST.  MICHEL.  Consecrated  in 
1529. 

Pier  of  the  Central  Door  of  the  Facade,  forming  the 
pedestal  of  the  statue  of  St.  Michel.  Of  stone.  Sixteenth 
century. 

In  Gallery  17. 

Marcou,  Album,  IV,  pis.  74,  85,  No.  17. 

2054-2058  ECOUEN,  CHATEAU.  Built  by  Jean  Bullant,  six- 
teenth century. 

2054  Bracket,  with  a lion’s  head,  on  the  north  facade. 
Mathivet,  Sale  Catalogue  of  Casts,  No.  364. 

2055  Half  Capital  in  the  Court  of  Honor. 

Mathivet,  Sale  Catalogue  of  Casts,  No.  336. 

2056  Angle  Motive  in  the  Chapel  under  the  stairway 
leading  to  the  tribune. 

Mathivet,  Sale  Catalogue  of  Casts,  No.  342. 

2057  Angle  Motive,  with  a shell,  under  the  tribune  (?) 
in  the  Chapel. 

Mathivet,  Sale  Catalogue  of  Casts,  No.  358. 

Cf.  Palustre,  La  Renaissance,  II,  p.  55. 


FRENCH  259 

2058  Corbel,  with  grotesque  head,  from  the  organ-loft  in 
the  Chapel. 

Mathivet,  Sale  Catalogue  of  Casts,  No.  350. 

2059  EVREUX,  CATHEDRAL  OF  NOTRE-DAME.  Eleventh 
to  eighteenth  centuries. 

Screen  closing  one  of  the  choir  chapels.  Of  wood.  Six- 
teenth century. 

In  Gallery  17. 

Marcou,  Album,  IV,  pi.  21. 

2060  FONTAINEBLEAU,  PALACE.  Sixteenth  and  seven- 
teenth centuries. 

Panel  from  the  dado  in  the  Gallery  of  Franfois  I.  Of 
wood.  Early  sixteenth  century. 

Pfnor,  Monographic,  II,  pi.  92. 

2061  A-D.  LIMOGES,  CATHEDRAL  OF  ST.  ETIENNE. 
Thirteenth  to  sixteenth  centuries. 

Details  from  the  Rood  Screen  at  the  entrance.  Of 
stone.  1533-1534. 

A.  Half  of  the  screen. 

B.  Portion  of  the  balustrade  of  the  rood  loft,  above 
the  screen. 

C.  Pendant  under  the  rood  loft. 

D.  Lower  part  of  a pendant. 

Marcou,  Album,  IV,  pi.  40. 

2062,  2063  PAGNY,  CHATEAU.  Sixteenth  century. 

2062  Fragment  of  a Frieze  in  the  Chapel. 

Marcou,  Album,  IV,  pi.  38,  No.  i. 

2063  A-C.  Portion  of  the  Frieze  of  the  archivolt, 
and  a pilaster,  from  the  tomb  of  Jean  de  Vienne,  in  the 
Chapel.  Sixteenth  century.  Of  stone. 

Marcou,  Album,  IV,  pis.  38,  No.  2;  39;  86,  No.  25. 


26o  renaissance  architecture 

2064  PARIS,  ABBEY  OR  CATHEDRAL  OF  ST.  DENIS. 
Choir  Stall  formerly  in  the  chapel  of  the  Chateau  of 
Gaillon.  Of  wood.  Sixteenth  century. 

In  Gallery  17. 

Marcou,  Album,  IV,  pi.  18. 

2065,  2066  PARIS,  ARC  DE  NAZARETH.  Formerly  in  the 
Rue  de  Nazareth,  now  in  the  Garden  of  the  Musee  Car- 
navalet.  Sixteenth  century. 

Panels,  with  crescent  and  fleur-de-lis,  from  the  cornice. 
Daly,  Motifs  historiques,  I,  Style  Henri  II,  pi.  3. 

2067-2075  PARIS,  ECOLE  DES  BEAUX-ARTS. 

2067  Short  Column,  ornamented,  with  Renaissance  Ionic 
capital,  from  the  church  of  St.  Pere,  Chartres. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2962. 

2068  A,  B.  Pilaster  Capitals  from  the  tomb  of  Philippe 
de  Comines.  Early  sixteenth  century. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  Nos.  589, 
590. 

2069  Fragment  of  a Door  Jamb,  with  laurel  leaves  on  a 
column. 

Baudot,  La  sculpture  jranfaise.  Renaissance,  pi.  16. 

2070-2075  Details  from  the  Chateau  of  Gaillon. 
Built  in  the  Transition  style  by  Guillaume  Senault  and 
Pierre  Fain,  1500-15 10.  Nos.  2070-2074  are  from  the 
fafade,  which  is  now  in  the  Court  of  the  Ecole  des  Beaux- 
Arts. 

2070  Pilaster  Capital. 

2071  Bracket. 

2072,  2073  Corbels  supporting  buttresses. 

2074  Corner  of  a Window-Frame. 

2075  Panel  from  the  Chapel. 

Fcole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  Nos.  2116, 
1503,  416,  1326,  417. 

Deville,  Comptes  de  depenses,  pi.  16. 


CHOIR  STALLS  FROM  THE  CHATEAL  OF  GAILLON 


4 

■I 


I 


I 


FRENCH 


261 

2076  PARIS,  HOTEL  DE  VILLACERE.  Seventeenth  cen- 
tury. 

Archivolt  and  decoration  over  a door  (?). 

Mathivet,  Sale  Catalogue  of  Casts,  Nos.  653-656. 

2077-2085  PARIS,  LOUVRE.  Built  by  various  architects  of 
the  sixteenth  and  seventeenth  centuries,  and  continued  in 
the  nineteenth  century. 

2077  Pilaster  Capital  from  the  facade  of  the  Grande 
Galerie,  built  by  Thibaut  and  Louis  Metezeau,  1578. 
Mathivet,  Sale  Catalogue  of  Casts,  No.  242. 

2078  War  Disarmed,  and  Peace reliefs  surrounding  a 
door  in  the  south  facade  of  the  court.  By  Jean  Goujon 
and  Paul  Ponce,  about  I546(?). 

Havard,  La  France,  II,  p.  5. 

Reveil,  Jean  Goujon,  pis.  62,  63. 

2079  Fragment  of  the  Frieze  of  the  wainscot  in  the 
Salle  Henri  II,  built  by  Pierre  Lescot,  1546. 

Mathivet,  Sale  Catalogue  of  Casts,  No.  143. 

2080  A-C.  Panels  of  a door  in  the  Salle  Henri  H. 
Mathivet,  Sale  Catalogue  of  Casts,  Nos.  153,  159. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  2462. 

2081  Tablet,  ornamented  with  a cherub  and  festoons  of 
fruit,  etc.,  under  the  gallery  in  the  Hall  of  the  Caryatids, 
by  Jean  Goujon. 

Gonse,  La  sculpture  jrangaise,  p.  14. 

2082  A-G.  Details  from  a Fireplace  formerly  in  the 
Chateau  de  Villeroy.  By  Germain  Pilon.  Of  marble,  about 
1565. 

A,B.  Figures  of  Satyrs  supporting  the  mantel. 

C.  Pilaster  and  Cornice  at  one  end  of  the  mantel, 
above  A. 

D,  E.  Figures  in  Relief  holding  wreaths,  at  each  side 
of  the  medallion  above  the  mantel. 

F.  Fragment,  with  console  and  rosette,  from  the  frieze 
above  D,  under  the  pediment. 


262  RENAISSANCE  ARCHITECTURE 

G.  Cartouche,  with  infants,  in  the  centre  of  the  pedi- 
ment. 

Palustre,  La  Renaissance,  II,  p.  47. 

2083-2085  Panels  from  the  Campana  Collection.  Of 
marble.  Sixteenth  century. 

Marcou,  Album,  IV,  pi.  36. 

Paris,  Trocadero,  I,  pi.  74. 

2086-2089  PARIS,  MUSEE  CARNAVALET.  Begun  in  1544, 
by  Lescot  and  Bullant,  enlarged  by  Mansart  in  1660. ' 

2086  Relief,  a Lion  and  Armor,  over  a window  at 
the  left  of  the  entrance.  By  Jean  Goujon. 

Gonse,  La  sculpture  frangaise,  p.  105. 

2087,  2088  Satyr-Masks,  forming  keystones  over  win- 
dows. By  Jean  Goujon. 

Mathivet,  Sale  Catalogue  of  Casts,  No.  302. 

2089  Head  of  a Lion.  By  Jean  Goujon. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  51 1. 

2090,  2091  PARIS,  MUSEE  DE  CLUNY 

2090  Knocker,  with  the  head  of  a monkey.  Of  bronze. 
Mathivet,  Sale  Catalogue  of  Casts,  No.  1033. 

2091  Knocker,  with  an  animal’s  head.  Of  copper. 
Mathivet,  Sale  Catalogue  of  Casts,  No.  1034. 

2092,2093  PARIS,  PRIVATE  HOUSE.  By  Vaugirard.  Six- 
teenth century. 

Half  Capitals.  Of  stone. 

Mathivet,  Sale  Catalogue  of  Casts,  Nos.  105,  106. 

2094,2095  PAR.IS,  OLD  HOTEL  DE  VILLE.  Begun  in  1533 
burned  in  1871. 

2094  Medusa  Head,  from  a panel  of  the  entrance  door 
by  Perlan.  Of  bronze.  Seventeenth  century. 

Vachon,  Uancien  hotel  de  ville,  p.  175. 


FRENCH  263 

2095  Detail  from  the  frame  of  a rose  window,  including 
consoles  and  a cherub's  head.  Of  stone. 

Mathivet,  Sale  Catalogue  of  Casts,  No.  1 1 1. 

2096-2099  PARIS,  PALACE  OF  THE  TUILERIES.  By  Phili- 
bert Delorme  and  Jean  Bullant.  Begun  in  1564. 

2096  Pilaster  Capital,  with  a ram’s  head. 

2097  Fragment  of  a Capital  and  Column,  with  fleur- 
de-lis  on  the  flutings. 

2098  Half  Capital,  with  laurel  leaves  on  the  volutes. 

2099  Fragment  of  a Fluted  Column,  decorated  with 
branches  of  laurel. 

Mathivet,  Sale  Catalogue  of  Casts,  Nos.  249,  282,  266,  277. 
Bald  us.  Palais  du  Louvre,  pi.  100. 

2100,2101  POITIERS,  MUSEE  DES  AUGUSTINS. 

Pilaster  Capitals,  with  ram’s-horn  volutes.  Sixteenth 
century. 

Pouzadoux,  Sale  Catalogue  of  Casts,  Nos.  233,  234. 

2102  A-F.  ROUEN,  CATHEDRAL  OF  NOTRE-DAME. 
Details  from  the  Tomb  of  Cardinal  George  d’Amboise 
and  his  nephew.  By  Roland  Leroux,  1522-1525.  Of 
marble. 

A.  Pilaster. 

B.  Fragment  of  a Pilaster. 

C-F.  Capitals  of  pilasters. 

Palustre,  La  Renaissance,  H,  p.  260. 

2103  A,  B.  ROUEN,  CHURCH  OF  ST.  MACLOU.  Fifteenth 
century. 

Face  and  Reverse  of  the  Porte  des  Fonts  or  Porte 
Batarde  (left  door  of  the  west  facade),  with  reliefs  attribu- 
ted to  Jean  Goujon.  The  date  of  the  reliefs  is  1 540-1 541; 
the  rest  of  the  door  dates  from  about  1555-1560. 

In  Gallery  17. 

Marcou,  Album,  IV,  pis.  63,  64. 

Palustre,  La  Renaissance,  II,  p.  264. 


264  RENAISSANCE  ARCHITECTURE 

2104,  2105  VERSAILLES,  PALACE.  Begun  by  Jean  Lemercier, 
1624;  completed  1770. 

2104  Door  in  the  Salon  of  Hercules. 

C/.  Marcou,  Album,  V,  pi.  29. 

2105  Handle  of  a Vase,  with  a satyr’s  head,  on  the 
Parterre  d’Eau.  By  Antoine  Coyzevox,  1677-1685.  Of 
marble. 

Marcou,  Album,  V,  pis.  14,  15. 

2106,2107  UNIDENTIFIED. 

Cherubs  with  the  ends  of  a scroll. 


XVIII  AND  XIX  CENTURIES 

2108  PARIS,  THE  MADELEINE.  By  P.  Vignon  and  Huve, 
1806-1842. 

Portion  of  a Panel  of  the  Door,  with  scrolls  and  flowers. 
Of  bronze. 

Brucciani,  Sale  Catalogue  of  Casts,  No.  478. 

2109  RAMBOUILLET,  CHATEAU.  Begun  in  the  sixteenth 
century. 

Door  of  a Salon.  Eighteenth  century. 

Rouyer,  V Art  architectural,  HI,  Louis  XVI,  pi.  63. 

2110  VERSAILLES,  PALACE.  (See  also  Nos.  2104,  2105). 
Pedestal  of  an  Urn,  in  the  Salon  des  Gardes  de  la  Reine. 
Of  marble.  Second  half  of  the  eighteenth  century. 

In  Gallery  17. 

Paris,  Trocadero,  I,  pi.  116. 

Perate,  Versailles,  p.  16. 

21  I 1,21  12  UNIDENTIFIED. 

21 1 I Fragment  of  a Frieze,  with  a vase,  scrolls,  and 
wheat.  Style  of  Louis  XVI. 

Mathivet,  Sale  Catalogue  of  Casts,  No.  831. 

2112  Small  Panel,  with  a grotesque  bird  ending  in  a 
scroll.  Eighteenth  century. 


FRENCH  AND  GERMAN 


265 


GERMAN 

(in  gallery  38) 

2118  BERGHAUSEN,  CHATEAU. 

Knocker,  now  in  the  Bavarian  National  Museum,  Munich. 
Of  iron.  1440-1460. 

Hefner-Alteneck,  Eisenwerke,  I,  pi.  60. 

2119  BREMEN,  RATHAUS.  Fifteenth  to  seventeenth  cen- 
turies. 

Detail  OF  THE  Balustrade  of  a staircase.  Of  wood.  1616. 

2120-2123  HILDESHEIM,  FORMER  BUTCHERS’  GUILD- 
HOUSE.  Built  1529,  injured  by  fire  1884. 

2 1 20  Model  of  the  Facade.  Of  wood,  highly  colored. 
Lachner,  Die  Hol^architeciur  Hildesheims,  pi.  13. 

2121-2123  Details  from  the  Facade: — 

2121  Part  of  the  Decoration  of  the  Entrance  Arch. 

2122,  2123  Brackets  under  the  projecting  second  story. 
See  Model. 

2124  A,  B.  HILDESHEIM,  TIMBER  HOUSE  on  the  Hoher- 
weg.  No.  427. 

Panels,  with  grotesque  figures,  from  the  facade.  About 
1540. 

Lachner,  Die  Holiarchitectur  Htldesheims,  pi.  18. 

2125,  2126  HILDESHEIM,  TIMBER  HOUSES. 

2125  Panel,  with  spiral  leaf-ornament. 

Kusthardt,  Sale  Catalogue  of  Casts. 

2126  Portion  of  a Moulding,  with  braided-ribbon  orna- 
ment. 

2127,2128  JEVER,  PALACE. 

2 1 27  Panel  of  a cassetted  ceiling.  Of  oak.  1566. 
Boschen,  Die  Renaissance-Decke  im  Schlosse  pi  Jever. 

2128  A,B.  Friezes  from  the  monument  of  Edo  Weimken. 


266  RENAISSANCE  ARCHITECTURE 


2129  A-D.  LANDSHUT,  HOUSE  OF  THE  ESTATES. 

Frieze  and  Decoration  over  a door.  Now  in  the  Bavarian 
National  Museum,  Munich.  Of  oak.  Sixteenth  century. 
Bezold,  Die  Baukunsf,  p.  217. 

2130-2153  MUNICH,  BAVARIAN  NATIONAL  MUSEUM. 
(See  also  Nos.  2016,  2118,  2129,  2163). 

2130,2131  Panels  from  altars.  Of  linden.  Fifteenth  cen- 
tury. 

Kreittmayr,  Sale  Catalogue  of  Casts,  Nos.  1008,  1009. 

2132-2138  Details  of  Carved  Rafters.  Of  oak. 
Fifteenth  century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  Nos.  1037-1042. 

2139,  2140  Half  of  the  Front  Panels  of  two  bridal 
chests.  Of  oak.  Sixteenth  century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  Nos.  953,  954. 

2141  Panel  of  wood  carving.  Sixteenth  century. 
Kreittmayr,  Sale  Catalogue  of  Casts,  No.  1059. 

2142  Door  of  a small  cabinet.  Of  ivory.  Sixteenth  cen- 
tury. 

Kreittmayr,  Sale  Catalogue  of  Casts,  No.  763. 

2 1 43  Column  from  a choir  stall.  Of  linden.  Sixteenth  cen- 
tury. 

Kreittmayr,  Sale  Catalogue  of  Casts,  No.  444. 

2 1 44  A-C.  Panels  of  a window  frame.  Central  piece,  with 
a medallion  head  and  two  side  pieces.  Of  stone.  Seven- 
teenth century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  Nos.  135,  136. 

2145  Back  of  a Chair.  Of  oak.  Sixteenth  century. 
Kreittmayr,  Sale  Catalogue  of  Casts,  No.  992. 

2146  A,  B.  Back  and  Support  of  a Chair.  Of  oak. 
Sixteenth  century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  Nos.  390,  391. 


GERMAN  267 

2147  End  Piece  of  a Tablet,  with  a pilaster,  and  a bird 
in  profile.  Of  stone.  Sixteenth  century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  No.  621. 

2148  Small  Column  with  capital.  Of  linden.  Seven- 
teenth century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  No.  952. 

2149  Frame  and  Tablet  with  an  inscription.  Of  stone 
and  bronze.  Sixteenth  century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  No.  620. 

21 50-21 52  Small  Pilaster-Strips.  Of  linden.  Six- 
teenth century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  Nos.  404-406. 

2153  Small  Fragment  of  Ornament,  from  one  of  the 
boxes  in  the  old  Hoftheater  in  Munich,  which  was  built 
in  1818,  and  burned  in  1823.  Of  wood. 

Munich,  Das  bayerische  Nationalmuseum,  0rnamentey\A.'^6. 

2154  NUREMBERG. 

Steel  Lock.  Sixteenth  century. 

Kreittmayr,  Sale  Catalogue  of  Casts,  No.  300. 

2155  NUREMBERG. 

Pilaster,  from  the  “Rathaus  railing,”  begun  by  Peter 
Vischer  in  1514,  and  now  destroyed.  Of  bronze. 

Headlam,  Peter  Fischer,  pp.  110-118. 

2156-2158  NUREMBERG,  GERMANIC  MUSEUM. 

2 1 56,  2 1 57  Small  Iron  Knockers.  Fifteenth  century. 
Kreittmayr,  Sale  Catalogue  of  Casts,  No.  594. 

21  58  Back  of  a Knocker,  supposed  to  be  from  the  Court 
Chapel  of  Blutenburg,  Munich,  built  1490.  Of  iron. 
Hefner-Alteneck,  Eisenwerke,  I,  pi.  72. 

2159  NUREMBERG,  FORMER  LANDAUER  MONASTERY. 
1502. 

Lock  of  a Door.  Of  iron. 

Hefner-Alteneck,  Eisenwerke,  I,  pi.  2. 


268  RENAISSANCE  ARCHITECTURE 

2160  OLDENBURG. 

Knocker  with  a lion’s  head. 

Boschen,  Sale  Catalogue  of  Casts,  No.  1 19. 

2161,2162  OLDENBURG  (?). 

2161  Detail  of  a Stair  Balustrade. 

2162  Panel  of  a Door. 

Boschen,  Sale  Catalogue  of  Casts,  Nos.  69,  53  (?). 

2163  PASSAU,  FORTRESS  OF  OBERHAUS. 

Panel  of  a Ceiling,  now  in  the  Bavarian  National  Mu- 
seum, Munich.  Of  linden.  Fifteenth  century. 

Munich,  Dasbayerische  Nationalmuseum,  Ornamente,  pi.  12, 


FLEMISH 

(in  gallery  38) 

2164-2167  AMSTERDAM,  ROYAL  PALACE.  Begun  as  the 
Town  Hall,  1648. 

Caryatids,  representing  Disgrace  and  Punishment, 
under  the  frieze  in  the  old  Court  Room.  By  Arthur 
Quellin.  Of  marble. 

Architecture.  . . .d’ Amsterdam,  pis.  19,  27,  28. 

2168-2170  ANTWERP,  CHURCH  OF  ST.  PAUL.  Erected 
1533-1571.  The  Choir  was  completed  after  1621. 

Friezes  from  the  choir  stalls  (?).  Of  wood- 
Stoltzenburg,  Sale  Catalogue  of  Casts,  172  C,  D,  S R9. 

2171,2172  BREDA,  PROTESTANT  CHURCH. 

2171  Monument  of  Count  Borgnival.  Of  marble. 
Dated  1533. 

Van  Ysendyck,  Documents,  Ser.  3,  Mon.  com.  pi.  2. 

2172  Term  from  the  monument  of  Dirck  van  Assen- 
delfft.  Of  marble.  About  1553. 

Ewerbeck,  Die  Renaissance  in  Belgien,  I,  pi.  160. 


GERMAN  AND  FLEMISH 


269 


2173  A-L.  DORDRECHT,  GROOTE  KERK. 

Panels  from  the  choir  stalls.  By  Jan  Terwen  Aertsz, 
1538-1542.  Of  oak. 

Van  Ysendyck,  Documents,  Ser.  i.  III,  Litt.  S,  pis.  2,  7. 

2174  A-V.  ENKHUIZEN,  WESTERKERK. 

Details  Erom  the  Choir  Screen,  by  Jan  Terwen 
Aertsz(?).  Of  oak.  Dated  1542-1572. 

A.  Section  of  the  Screen,  entire. 

B,  C.  Lunettes,  with  reliefs  of  St.  Mark  and  St.  John. 
D-G.  Panels. 

H-M.  Parts  OF  pRiEZES. 

N-V.  Pilaster  Capitals. 

In  Gallery  37. 

Ewerbeck,  Die  Renaissance  in  Belgien,  I,  pis.  25,  29;  II,  pis. 
230,  231,  247. 

2175-2178  THE  HAGUE,  TOWN  HALL.  Completed  1565; 
restored  1647. 

2I75»2I76  Brackets  supporting  pilasters  on  the  facade. 

2177,2178  Corbels  under  the  balustrade  and  loggia. 
Ewerbeck,  Die  Renaissance  in  Belgien,  1,  pis.  186,  187. 

2179  A-J.  OUDENAARDE  (BELGIUM).  TOWN  HALL. 

Details  from  the  Doorway  of  the  Council  Chamber.  By 
Paul  van  Schelden,  1531.  Of  oak. 

A.  Bracket  over  the  centre  of  the  doorway. 

B,  C.  Portions  of  the  Frieze  over  the  doorway. 

D-J.  Panels  in  the  doors. 

Ewerbeck,  Die  Renaissance  in  Belgien,  11,  pis.  197,  200,  208. 


270 


RENAISSANCE  ARCHITECTURE 


ENGLISH 

(in  gallery  38) 

2180  BANBURY,  REINDEER  INN. 

Portion  of  a Ceiling.  Of  stucco.  Sixteenth  century. 

In  Gallery  4. 

Murray,  Oxfordshire,  p.  168. 

2181-2184  CHESTER,  STANLEY  HOUSE.  1591. 

2181,  2182  Terms. 

2183  Fragment  OF  an  Arch  with  spandrels. 

2184  Fragment  of  a Moulding. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  Nos.  1079,  1081,  1088,  1087. 

2185  UNIDENTIFIED.  Panel  with  scrolls  and  thistles. 

Royal  Architectural  Museum,  London,  Sale  Catalogue  of 
Casts,  No.  998. 


RUSSIAN 

(in  gallery  38) 

2186,2187  MOSCOW. 

Brackets  with  animals’  heads.  Of  stone.  Sixteenth  cen- 
tury. 

Kreittmayr,  Sale  Catalogue  of  Casts,  No.  313. 


2188-2203  UNIDENTIFIED  CASTS  OF  RENAISSANCE 
DETAILS. 

In  Gallery  38. 

2188,  2189  Small  Pilaster-Capitals. 

2190  Half  Capital  of  an  engaged  column. 

2 1 91-2 193  Capitals  of  small  engaged  cloumns. 

2194  Capital  of  a pilaster. 


ENGLISH,  ETC. 


271 


2195  Small  Square  Panel,  with  leaf-ornament. 

2196  Small  Panel,  with  vase  and  scrolls. 

2197  Fragment  of  a Frieze,  with  scrolls  and  flowers. 

2198  Small  Panel,  with  vase,  mask,  etc. 

2199  Door  Panel,  with  lion-head  knocker. 

2200  Small  Square  Panel  of  ornament. 

2201  Fragment  from  the  base  of  a column  with  palmette 
decoration.  Of  wood. 

2202  Fragment  of  a frieze. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  278. 


RENAISSANCE  SCULPTURE 

ITALIAN 

(in  galleries  33-36) 

TUSCAN  SCHOOL 

BENEDETTO  DA  MAIANO,  I442-I497 

(in  gallery  35) 

2241  PULPIT  in  the  Church  of  Santa  Croce,  Florence.  Of 
marble.  About  1475.  The  reliefs  represent  scenes  from 
the  history  of  the  Franciscan  Order:  (i)  the  Confirmation 
of  the  Order;  (2)  the  Burning  of  the  Books;  (3)  St. 
Francis  receiving  the  Stigmata;  (4)  the  Death  of  St. 
Francis;  (5)  the  Execution  of  Brothers  of  the  Order. 
Beneath  are  seated  statuettes  of  Faith,  Hope,  Charity, 
Fortitude,  and  Justice. 

In  Gallery  38. 

Bode,  Denkmdler,  pis.  343,  344. 

2242  MADONNA  AND  CHILD.  Group  in  the  Oratory  of  the 
Misericordia,  Florence.  Of  marble.  One  of  his  last  two 
works. 

Bode,  Denkmdler,  pi.  363c. 

2243  ST.  JOHN  THE  BAPTIST  as  a youth.  A statue  original- 
ly designed  to  crown  the  doorway  between  the  Sala  dei 
Gigli  and  the  Sala  d’Udienza  in  the  Palazzo  Vecchio,  and 
now  in  the  Bargello,  Florence.  Of  marble.  Between  1475 
and  1481. 

Bode,  Denkmdler,  pi.  360b. 

2244  PIETRO  MELLINI.  Portrait-bust  in  the  Bargello,  Flor- 
ence. Of  marble.  Signed  and  dated  1474. 

Bode,  Denkmdler,  pi.  346b. 


ITALIAN 


273 

2245  FILIPPO  STROZZI.  Portrait-bust  originally  designed  for 
his  tomb  in  the  Church  of  Santa  Maria  Novella,  Florence, 
and  now  in  the  Louvre,  Paris.  Of  marble.  About  1491- 
1493. 

Bode,  Denkmdler,  pi.  357b. 

2246  MADONNA  AND  CHILD.  Relief  in  a circular  border 
with  cherubim,  from  the  tomb  of  Filippo  Strozzi,  in  the 
Church  of  Santa  Maria  Novella,  Florence.  Of  marble. 
1491. 

Bode,  Denkmdler,  pi.  358. 

2247  MADONNA  AND  CHILD.  Circular  relief  with  a wreath 
of  fruit  and  cherubim,  from  the  Altar  of  St.  Bartolus, 
in  the  Church  of  Sant’  Agostino,  at  San  Gimignano.  Of 
marble.  1494. 

Bode,  Denkmdler,  pi.  362. 

2248  A-D.  THE  EVANGELISTS.  Medallions  decorating  the 

base  of  the  ciborium  in  the  Church  of  San  Domenico, 
Siena.  Of  marble.  Completed  before  1475.  Mat- 

thew. B.  St.  Mark.  C.  St.  Luke.  D.  St.  John. 

Bode,  Denkmdler,  pi.  348a. 


BENEDETTO  DA  ROVEZZANO,  ABOUT  I474-I554 

(in  gallery  36) 

2249  DETAIL  OF  THE  SARCOPHAGUS  of  Oddo  Altoviti, 
in  the  Church  of  the  Santi  Apostoli,  Florence.  Of  marble. 
About  1507. 

Reymond,  La  sculpture  Florentine,  IV,  p.  44. 


BERTOLDO  DI  GIOVANNI,  I420(?)-I49I 

(in  gallery  34) 

2250  THE  CRUCIFIXION.  Relief  in  the  Bargello,  Florence. 
Of  bronze. 

Bode,  Denkmdler,  pi.  426a. 


274  RENAISSANCE  SCULPTURE 

2251  LAMENTATION  OVER  THE  BODY  OF  CHRIST. 
Relief  in  the  Bargello,  Florence.  Of  bronze. 

Bode,  Denkmaler,  pi.  428a. 

FILIPPO  BRUNELLESCHI,  I377-I446 

(in  gallery  33) 

2252  TRIAL  OF  ABRAHAM’S  FAITH.  Relief  made  in  com- 
petition for  the  east  door  of  the  Baptistery,  and  now  in 
the  Bargello,  Florence.  Of  bronze.  1401. 

Bode,  Denkmaler,  pi.  la. 

2253  ARMS  OF  THE  SPINELLI  FAMILY,  in  a spandrel  of 
the  arcade  in  the  second  cloister  of  the  Church  of  Santa 
Croce,  Florence.  Of  terracotta.  About  1435. 

Schutz,  Die  Renaissance  in  Italien,  I,  pi.  6 (Abt.  A,  Heft  V). 


ANDREA  DI  LAZZARO  CALVALCANTI,  CALLED  BUGGIANO, 

1412-1462 

(IN  GALLERY  33) 

2254  FILIPPO  BRUNELLESCHI.  Bust  from  his  death- 
mask.  In  the  Opera  del  Duomo,  Florence.  Of  marble  (?). 
Soon  after  1446. 

BENVENUTO  CELLINI,  I500-I57l(?) 

(IN  GALLERY  33) 

2255  PERSEUS  DELIVERING  ANDROMEDA.  Relief  ,in 
the  Bargello,  Florence.  From  the  base  of  the  Perseus 
group  in  the  Loggia  dei  Lanzi.  Of  bronze.  1545-1554. 
MUntz,  Hisioire  de  Vart,  HI,  p.  420. 

2256  PERSEUS  BEHEADING  MEDUSA.  Model,  in  the 
Bargello,  Florence,  for  the  group  in  the  Loggia  dei  Lanzi. 
Of  bronze.  1545  (?). 

Bode,  Denkmaler,  pi.  545. 


ITALIAN 


275 


MATTEO  CIVITALI,  1436(F)-!  5OI 
(in  gallery  34) 

2257  ST.  REGULUS.  Head  from  his  statue  on  the  Altar  of 
St.  Regulus,  in  the  Cathedral,  Lucca.  Of  marble.  1484. 
Bode,  Denhndler,  pi.  374. 


2258  COUNT  DOMENICO  BERTINI.  Portrait-bust  from 
his  tomb  in  the  Cathedral,  Lucca.  Of  marble.  1479. 
Bode,  Denkmdler,  pi.  370a. 

2259  A LADY  OF  LUCCA.  Portrait-bust  in  relief.  In  the 
Bargello,  Florence.  Attribution  questioned.  Of  marble. 
Yriarte,  Matteo  Civitali,  p.  128. 

2260  ST.  ROMANUS.  Effigy  in  relief  from  his  tomb  in  the 
Church  of  San  Romano,  Lucca.  Of  marble.  1490. 

Bode,  Denkmdler,  pi.  375a. 

2261  A,  B.  KNEELING  ANGELS.  In  the  Chapel  of  the 
Sacrament,  in  the  Cathedral,  Lucca.  Of  marble.  Designed 
to  decorate  the  Altar  of  the  Holy  Sacrament,  1473-1476, 
since  destroyed. 

Bode,  Denkmdler,  pi.  369. 

2262  FAITH.  Allegorical  figure  in  relief,  in  the  Bargello,  Flor- 
ence. Of  marble. 

Bode,  Denkmdler,  pi.  373. 

2263  MADONNA  AND  CHILD,  called  the  Madonna  delle 
Tosse.  Relief  in  the  Church  of  the  Santa  Trinita,  Lucca. 
Of  marble.  1480. 

Bode,  Denkmdler,  pi.  372b. 

2264  FESTOON  OF  FRUIT  with  heads  of  cherubim,  in  relief. 
This  is  perhaps  a fragment  of  the  frieze  of  the  balustrade 
made  by  Civitali  in  1478  for  the  choir  of  the  Cathedral, 
Lucca,  and  now  a part  of  the  decoration  of  the  Chapel  of 
the  Sanctuary.  Of  marble. 

Yriarte,  Matteo  Civitali,  pp.  19-26. 


276 


RENAISSANCE  SCULPTURE 


VINCENZO  DANTI,  I53O-I576 

(in  gallery  36) 

2265  DOOR  OF  A CUPBOARD,  with  figures  in  relief.  In  the 
Bargello,  Florence.  Of  bronze. 

Reymond,  La  sculpture  florentine,  IV,  p.  175. 

DESIDERIO  DA  SETTIGNANO,  I428-I464 
(in  gallery  35) 

2266  MONUMENT  OF  CARLO  MARSUPPINI.  In  the  Church 
of  Santa  Croce,  Florence.  Of  marble.  Soon  after  1455. 
Bode,  Denkmdler,  pi.  293. 

2267  MARIETTA  STROZZI.  Portrait-bust  in  the  Kaiser 
Friedrich  Museum,  Berlin.  Of  marble. 

Bode,  Denkmdler,  pi.  306a. 

2268  A PRINCESS  OF  URBINO.  Portrait-bust  in  the  Kaiser 
Friedrich  Museum,  Berlin.  Of  limestone. 

Bode,  Denkmdler,  pi.  301. 

2269  A YOUNG  WOMAN.  Portrait-bust  in  the  Bargello, 
Florence.  Of  marble. 

Bode,  Denkmdler,  pi.  307b. 

2270  A YOUNG  BOY.  Portrait  (?)  bust  in  the  Bargello, 
Florence.  Of  marble. 

Bode,  Denkmdler,  pi.  309b. 

2271  A YOUNG  CHILD.  Portrait-bust  in  the  collection  of 
Gustave  Dreyfus,  Paris.  Of  marble. 

Bode.  Denkmdler,  pi.  308a. 

2272  A CHILD  LAUGHING.  Bust  in  the  Benda  collec- 
tion, Vienna.  Formerly  attributed  to  Donatello.  Of 
marble. 

Bode;,  Denkmdler,  pl.  292. 

2273  ST.  CECILIA.  Bust  in  relief  in  the  collection  of  Lord 
Wemyss,  London.  Formerly  attributed  to  Donatello. 


ITALIAN 


277 


Of  stone.  After  i455(?). 

Bode,  Denkmdler,  pi.  296b. 

2274  UNKNOWN  MAN.  Portrait-bust  in  relief,  in  the  Bar- 
gello,  Florence.  Of  stone. 

Bode,  Denkmdler,  pi.  557a. 

2275  MADONNA  AND  CHILD.  Relief  on  the  Palazzo  Pan- 
ciatichi,  Via  Cavour,  Florence.  Of  marble.  About  1460. 
Bode,  Denkmdler,  pi.  298. 

2276  MADONNA  AND  CHILD.  Relief  in  the  Pinacoteca, 
Turin.  Of  marble. 

Bode,  Denkmdler,  pi.  299a. 

2277  ST.  JEROME  AT  PRAYER.  Relief  in  the  von  Liphardt 
Collection,  at  Rathshof,  near  Dorpat,  Russia.  Of  marble 
A late  work. 

In  Gallery  34. 

Bode,  Denkmdler,  pi.  305c. 

2278  THE  YOUNG  ST.  JOHN  THE  BAPTIST  adoring  the 
Christ  Child.  Relief  in  the  Dreyfus  Collection,  Paris. 

Of  marble. 

Les  Arts,  No.  72  (Dec.  1907),  p.  6. 

2279  THE  CHRIST  CHILD.  Statue  from  the  top  of  the 
Tabernacle  of  the  Sacrament,  Church  of  San  Lorenzo, 
Florence.  Of  marble.  After  1455. 

Bode,  Denkmdler,  pi.  304. 

2280  SHIELD  OF  THE  GIANFIGLIAZZI  FAMILY,  on  the 
Gianfigliazzi  Palace,  Florence.  Of  stone. 

Bode,  Denkmdler,  pi.  302. 


DONATO  DI  NICCOLO  DI  BETTO  BARDI,  CALLED  DONATELLO, 

1386-1466 
(in  gallery  33) 

2281  GATTAMELATA,  ERASMO  DEI  NARNI,  General  of 
the  Venetian  army,  1438-1441.  Equestrian  statue  in 


278  RENAISSANCE  SCULPTURE 

the  Piazza  del  Santo,  Padua.  Of  bronze.  Finished  1453. 
In  Gallery  38. 

Bode,  Denkmdler,  pi.  112a. 

2282  A-L.  DETAILS  FROM  THE  HIGH  ALTAR,  in  the 
Church  of  Sant’  Antonio,  Padua.  Executed  by  Donatello 
and  various  pupils.  1446-1450.  Of  bronze,  with  one 
exception. 

Bode,  Denkmdler,  pi.  151b. 

A.  The  Crucifix,  St.  Francis,  and  St.  Anthony. 
Statues  from  the  altar. 

In  Gallery  34. 

Bode,  Denkmdler,  pis.  124,  126,  127. 

B-E.  Reliefs,  the  Miracles  of  St.  Anthony,  as  fol- 
lows : — 

B.  The  New-Born  Babe  Made  to  Speak. 

C.  The  Miser’s  Heart  Found  to  be  Missing. 

D.  The  Foot  of  the  Youth  Restored. 

E.  The  Host  Refused  by  a Starving  Mule. 

Bode,  Denkmdler,  pis.  1 20-1 23. 

Balcarres,  Donatello,  pp.  156-161. 

F.  Entombment  of  Christ.  Relief  from  the  back  of 
the  altar.  Of  stone,  painted  bronze  color,  with  colored 
stones  and  glass  mosaic  on  the  sarcophagus  and  in  the 
background. 

In  Gallery  34. 

Bode,  Denkmdler,  pi.  13 1. 

G.  Angels  singing  and  playing  musical  instruments. 
Reliefs  on  the  altar  frontal. 

Bode,  Denkmdler,  pis.  114-116. 

H.  PiETA,  the  dead  Christ  mourned  by  angels.  Relief 
from  the  centre  of  the  altar  frontal. 

In  Gallery  34. 

Bode,  Denkmdler,  pi.  119. 


DONATELLO  S ALTAR  IN  SANT  ANTONIO,  PADUA 


m 


ITALIAN 


279 

I-L.  Symbols  of  the  Evangelists.  Reliefs:  I.  St. 
Matthew.  J.  St.  Mark.  K.  St.  Luke.  L.  St.  John. 
In  Gallery  34. 

Bode,  Denkmdler,  pis.  117,  118. 

2283  ST.  GEORGE.  Statue  in  a niche,  at  the  base  of  which 
is  a relief  of  St.  George  killing  the  Dragon,  on  the  north 
facade  of  the  Church  of  Or  San  Michele,  Florence.  The 
original  statue  is  now  replaced  by  a bronze  reproduction, 
and  is  in  the  Bargello,  Florence.  Of  marble.  About 
1416. 

Bode,  Denkmdler,  pi.  46. 

2284  JUDITH  AND  HOLOFERNES.  Group  in  the  Loggia 
dei  Lanzi,  Florence.  Of  bronze.  About  1440. 

Bode,  Denkmdler,  pi.  no. 

2285  ST.  JOHN  THE  BAPTIST.  Statue  in  the  Chapel  of 
San  Giovanni,  in  the  Cathedral,  Siena.  Of  bronze.  1457. 
Bode,  Denkmdler,  pi.  135. 

2286  DAVID,  with  the  head  of  Goliath.  Statue  in  the  Bar- 
gello, Florence.  Of  bronze.  Between  1425  and  1432. 
Bode,  Denkmdler,  pi.  73. 

2287  ST.  JOHN  THE  BAPTIST.  Statue  in  the  Bargello, 
Florence.  Of  marble.  About  1412. 

Bode,  Denkmdler,  pi.  57. 

2288  CUPID.  Statue  in  the  Bargello,  Florence.  Of  bronze. 
About  1427. 

Bode,  Denkmdler,  pi.  65. 

2289  A PROPHET.  Head  of  a statue  in  the  Cathedral,  Flor- 
ence,  wrongly  called  Poggio  Bracciolini.  Of  marble 
Between  1420  and  1430  (?). 

Bode,  Denkmdler,  pi.  49. 

2290  THE  PROPHET  JEREMIAH.  Head  of  one  of  the 
statues  on  the  Campanile,  Florence.  Of  marble.  Be- 
tween 1415  and  1435. 

Bode,  Denkmdler,  pi.  50a. 


28o  renaissance  sculpture 

2291  ST.  JOHN  THE  BAPTIST,  Head  of  one  of  the  statues 
on  the  Campanile,  Florence.  Of  marble.  1416. 

Bode,  Denkmdler,  pi.  47a. 

2292  THE  YOUNG  GATTAMELATA  (so  called).  Portrait- 
bust  in  the  Bargello,  Florence.  Of  bronze.  About 
1455(?)- 

Balcarres,  Donatello,  p.  129. 

Meyer,  Donatello,  p.  39. 

2293  NICCOLO  DA  UZZANO  (so  called).  Portrait-bust  in  the 
Bargello,  Florence.  Of  terracotta,  painted.  About  1425(F). 
Bode,  Denkmdler,  pi.  51. 

2294  LODOVICO  HE  GONZAGA.  Bust  in  the  Kaiser  Fried- 
rich Museum,  Berlin,  perhaps  a preliminary  study  for  an 
equestrian  statue  on  which  Donatello  was  at  work  in  Man- 
tua, in  1450-1451.  Of  bronze. 

Bode,  Denkmdler,  pi.  133. 

2295  ST.  LORENZO.  Bust  in  the  Old  Sacristy  of  the  Church 
of  San  Lorenzo,  Florence.  Of  terracotta. 

Bode,  Denkmdler,  pi.  loia. 

2296  A ROMAN.  Bust  in  relief,  in  the  Louvre,  Paris.  Of 
marble.  About  1425-1430  (?). 

Bode,  Denkmdler,  pi.  93b. 

2297  A-C.  DANCING  AND  PLAYING  CHERUBS.  Reliefs 
decorating  one  of  the  Singing  Galleries  formerly  in  the 
Cathedral  at  Florence,  and  now  in  the  Opera  del  Duomo. 
Of  marble.  1433-1438. 

Bode,  Denkmdler,  pis.  83-86. 

2298  DANCING  CHILDREN.  Relief  from  the  pulpit  on  the 
outside  of  the  Cathedral  at  Prato.  Michelozzo  assisted 
Donatello  on  this  work.  Of  marble.  1434-1438. 

Bode,  Denkmdler,  pi.  78. 

2299  THE  CRUCIFIXION.  Relief  in  the  Bargello,  Florence. 
Of  bronze,  partly  gilded. 

In  Gallery  34. 

Bode,  Denkmdler,  pi.  94. 


, % 


/ 


ITALIAN 


281 

2300  DAVID  with  the  head  of  Goliath.  Bronze  cast  from  a 
wax  model.  In  the  Louvre,  Paris.  This  resembles  the 
model  in  the  Berlin  Museum  for  the  MartellijDavid,  made 
between  1415  and  1425. 

Bode,  Denkmdler,  pi.  549. 

SCHOOL  OF  DONATELLO 

(in  gallery  34) 

2301  MADONNA  AND  CHILD  and  cherubs’  heads.  Circular 
relief  over  the  side  door  of  the  Cathedral,  Siena.  Of 
marble.  Middle  of  the  fifteenth  century. 

Bode,  Denkmdler,  pi.  176. 


ANTONIO  FEDERIGHI  DE'  TOLOMEI,  DIED  I49O 

(in  gallery  34) 

2302  HOLY-WATER  BASIN  in  the  Cathedral,  Siena.  Of 
marble.  1462-1463. 

Bode,  Denkmdler,  pi.  485a. 


SCHOOL  OF  ANTONIO  FEDERIGHI 

(in  gallery  33) 

2303  MADONNA  AND  CHILD  with  cherubim.  Relief  in  the 
Church  of  San  Francesco,  Siena.  Of  marble.  Second 
half  of  the  fifteenth  century.  Also  attributed  to  Cozzarelli. 
Heywood  and  Olcott,  Guide  to  Siena,  p.  301. 

FRANCESCO  DI  SIMONE  FERRUCCI,  I438(?)-I493 
(IN  GALLERY  34) 

2304  DETAILS  FROM  THE  MONUMENT  of  Alessandro 
Tartagni  in  the  Church  of  San  Domenico,  Bologna.  Of 
marble.  About  1477. 

A.  End  of  the  Sarcophagus. 

B.  Panel  from  the  platform  on  which  it  rests. 


282 


RENAISSANCE  SCULPTURE 


C.  Madonna  and  Child.  Circular  relief  above  the  sar- 
cophagus. 

Bode,  Denkmaler,  pi.  466c. 

2305  BARBARA  MANFREDl,  wife  of  Piero  Ordelaffi.  Head 
from  the  effigy  on  her  tomb  in  the  Church  of  San  Biagio 
Forli.  Of  marble.  About  1466. 

In  Gallery  36. 

Bode,  Denkmaler,  pi.  467a. 

LORENZO  DI  CIONE  GHIBERTI,  I38l(?)-I455 

(in  gallery  33) 

2306  EAST  DOORS  OF  THE  BAPTISTERY  at  Florence.  Of 
bronze,  originally  gilded.  1425-1452. 

The  subjects  of  the  reliefs  (from  left  to  right,  and  from  the 
top  down)  are  the  Old  Testament  stories  of  (i)  the  Crea- 
tion and  Fall  of  Man;  (2)  Cain  and  Abel;  (3)  Noah  and  the 
Ark;  (4)  Abraham;  (5)  Jacob  and  Esau;  (6)  Joseph  and 
his  Brethren;  (7)  Moses  on  Mt.  Sinai;  (8)  the  Israelites 
crossing  the  Jordan  and  besieging  Jericho;  (9)  Battles  of  the 
Israelites,  with  David  killing  Goliath;  (10)  the  Meeting  of 
King  Solomon  and  the  Queen  of  Sheba.  The  statuettes  in 
the  niches  (taken  by  rows,  in  the  same  order  as  above)  are: 
(i)Two  prophets,  Esther  (?)  and  Saul  (?);  (2)  Amos,  Jonah, 
Rachel  (?),  and  Samson;  (3)  Joel,  Deborah,  a prophet,  and 
Jeremiah;  (4)  Miriam,  Aaron,  Joshua,  and  David;  (5) 
Judith,  and  three  prophets.  Of  the  small  heads  in  the  bor- 
der, those  above  the  statuettes  of  Joshua  and  Aaron  are 
said  to  be  portraits  of  Ghiberti  and  his  stepfather,  Barto- 
luccio.  In  the  horizontal  parts  of  the  border  are  four  re- 
clining allegorical  (?)  figures. 

Bode,  Denkmaler,  pis.  6,  7. 

Gilman,  Manual,  pp.  30-47. 

2307A-I.  DETAILS  FROM  THE  NORTH  DOOR  OF  THE 
BAPTISTERY,  Florence.  Of  bronze.  1403-1424. 

A.  Frame. 

B.  A Doctor  of  the  Church. 


C.  St.  Mark. 


DONATELLO  S PULPIT  ON  THE  OUTSIDE  OF  PRATO  CATHEDRAL 


ITALIAN 


D.  Annunciation. 


283 


E.  Adoration  of  the  Magi. 

F.  Christ  Among  the  Doctors. 

G.  Temptation  on  the  Mount. 

H.  Raising  of  Lazarus. 

I.  Pilate  washing  his  Hands. 

Bode,  Denkmdler,  pis.  2-5. 

2308  A-D.  PANELS  FROM  THE  RELIQUARY  of  St.  Zeno- 
bius in  the  Cathedral,  Florence.  Of  bronze.  i439-i446(?). 
The  reliefs  A-C,  on  the  front  and  ends,  represent  the  Saint’s 
Miracles  of  the  Restoration  to  life: 

A.  Of  a dead  Child. 

B.  Of  A Boy  Run  Over  by  an  Ox-cart. 

C.  Of  a Messenger  Sent  to  Him  by  St.  Ambrose. 

D.  Six  Angels  with  a Wreath  Enclosing  an  Inscrip- 
tion; relief  from  the  back. 

Bode,  Denkmdler,  pi.  12,  a,  b,  d. 

Gilman,  Manual,  p.  47. 

2309  THE  TRIAL  OF  ABRAHAM’S  FAITH.  Relief  made  in 
competition  for  the  east  door  of  the  Baptistery,  and  now  in 
the  Bargello,  Florence.  Of  bronze.  1401. 

Bode,  Denkmdler,  pi.  la. 


GIOVANNI  DA  MAIANO,  ABOUT  I442-I52I 

(in  gallery  39) 

2310,  2311  AUGUSTUS,  AND  VITELLIUS.  Two  of  the 
medallions  of  Roman  Emperors  on  the  towers  of  Hampton 
Court,  England.  Of  terracotta.  Finished  about  1520. 
Law,  History  of  Hampton  Court,  I,  p.  50. 


284  RENAISSANCE  SCULPTURE 

FRANCESCO  LAURANA  OF  DALMATIA, 

DIED  ABOUT  I 5OI 

(in  gallery  34) 

2312  A YOUNG  WOMAN.  Portrait-bust,  known  as  “la  femme 
inconnue.”  In  the  Louvre,  Paris.  Of  marble.  Late 
fifteenth  century. 

Reymond,  La  sculpture  florentine,  III,  p.  73. 

Gilman,  Manual,  p.  128. 

2313  A NEAPOLITAN  PRINCESS.  Portrait-bust  in  the 
Kaiser  Friedrich  Museum,  Berlin.  Of  marble.  Late  fif- 
teenth century. 

Bode  and  Tschudi,  Bildwerke,  No.  61. 

Gilman,  Manual,  p.  128. 

MICHELANGELO  BUONARROTI,  I475-I564 

(in  galleries  34-36) 

2314,2315  A,  B.  DETAILS  FROM  THE  MEDICI  TOMBS 
in  the  New  Sacristy  of  the  Church  of  San  Lorenzo, 
Florence.  Of  marble.  Begun  in  1521,  and  left  unfinished 
in  1534. 

2314  Giuliano  de’  Medici  and  the  figures  of  Night  and 
Day. 

2315  A.  Lorenzo  de’  Medici,  the  Younger,  and  the 
figures  of  Evening  and  Dawn. 

B.  Part  of  the  Cornice  from  one  of  the  tombs. 

In  Gallery  36. 

Bode,  Denkmdler,  pis.  524,  525. 

2316  MOSES.  Colossal  seated  statue,  designed  for  the  tomb 
of  Pope  Julius  II,  in  the  Church  of  San  Pietro  in  Vincoli, 
Rome.  Of  marble.  1505-1545. 

In  Gallery  36. 

Bode,  Denkmdler,  pi.  518. 

2317,2318  BOUND  CAPTIVES.  Two  statues  intended  for  the 
tomb  of  Pope  Julius  II,  and  now  in  the  Louvre,  Paris.  Of 
marble.  1505-1545. 

In  Gallery  34. 

Bode,  Denkmdler,  pis.  519,  519  A.P.  L. 


Michelangelo’s  design  for  the  tomb  of  julius  ii 

FROM  A DRAWING  IN  THE  UFFIZI  GALLERY,  THE  FIGURE  OF  MOSES  IS  ON  THE 
UPPER  CORNER  AT  THE  RIGHT 


ITALIAN 


285 

2319  ST.  JOHN  THE  BAPTIST  as  a youth.  Statue  in  the 
Kaiser  Friedrich  Museum,  Berlin.  Of  marble.  About  1495. 
In  Gallery  36. 

Bode,  Denkmdler,  pi.  503. 

2320  BACCHUS  AND  A FAUN.  Group  in  the  Bargello,  Flor- 
ence. Of  marble.  1497. 

In  Gallery  34. 

Bode,  Denkmdler,  pi.  505. 

2321  CUPID  KNEELING.  Statue  in  the  South  Kensington 
Museum,  London.  Of  marble.  About  1497. 

In  Gallery  34. 

Bode,  Denkmdler,  pi.  504. 

2322  PI  ETA.  Group  of  the  Madonna  holding  the  dead  Christ, 
in  the  Church  of  St.  Peter,  Rome.  Of  marble.  1499. 

In  Gallery  35. 

Bode,  Denkmdler,  pi.  508. 

2323  MADONNA  AND  CHILD.  Group  in  the  Church  of 
Notre  Dame,  Bruges.  Of  marble.  1501-1505  (?). 

In  Gallery  36. 

Bode,  Denkmdler,  pi.  507. 

2324  THE  RISEN  CHRIST.  Statue  in  the  Church  of  Santa 
Maria  sopra  Minerva,  Rome.  Of  marble.  Completed  1521, 
by  two  assistants. 

In  Gallery  35. 

Bode,  Denkmdler,  pi.  515. 

2325  DAVID,  formerly  called  Apollo.  Unfinished  statue;  in 
the  Bargello,  Florence.  Of  marble.  1529. 

In  Gallery  34. 

Bode,  Denkmdler,  pi.  520. 

2326  MADONNA  AND  CHILD.  Unfinished  group  in  the 
New  Sacristy  of  the  Church  of  San  Lorenzo,  Florence. 
Of  marble.  About  1 532  (?). 

In  Gallery  35. 

Bode,  Denkmdler,  pi.  527. 


286  RENAISSANCE  SCULPTURE 

2327  PIETA,  or  Deposition  from  the  Cross.  Unfinished  group 
of  the  dead  Christ  supported  by  Joseph  of  Arimathea, 
or  Nicodemus,  the  Madonna,  and  Mary  Magdalen(?).  In 
the  Cathedral  of  Santa  Maria  del  Fiore,  Florence.  Of 
marble.  About  1550-1555. 

In  Gallery  35. 

Bode,  Denkmdler,  pi.  529. 

Symonds,  Life  of  Michelangelo  Buonarroti,  II,  p.  198. 

2328  THE  WOUNDED  ADONIS.  In  the  Bargello,  Florence. 
Date  and  attribution  disputed.  Of  marble. 

In  Gallery  34. 

Bode,  Denkmdler,  pi.  530b. 

2329  A CROUCHING  YOUTH.  Unfinished  and  doubtful 
work,  in  the  Hermitage  Museum,  St.  Petersburg.  Of 
marble.  About  1521  (?). 

In  Gallery  34. 

Bode,  Denkmdler,  pi.  506b. 

2330  DAVID.  Head  of  the  colossal  statue  in  the  Accademia 
delle  Belle  Arti,  Florence.  Of  marble.  1501-1503. 

In  Gallery  36. 

Bode,  Denkmdler,  pi.  51 1. 

2331  BRUTUS.  Unfinished  bust  in  the  Bargello,  Florence. 
Of  marble.  About  i535(?). 

In  Gallery  36. 

Bode,  Denkmdler,  pi.  516. 

2332  BATTLE  OF  THE  LAPITHS  AND  CENTAURS.  Re- 
lief in  the  Casa  Buonarroti,  Florence.  Of  marble.  About 
1491- 

In  Gallery  35. 

Bode,  Denkmdler,  pi.  501c. 

2333  MADONNA  AND  CHILD,  AND  ST.  JOHN.  Circular 
relief  in  the  Bargello,  Florence.  Of  marble.  About  1503. 
In  Gallery  35. 

Bode,  Denkmdler,  pi.  513. 

2334  CANDELABRUM,  on  the  altar  in  the  New  Sacristy  of 


ITALIAN  287 

the  Church  of  San  Lorenzo,  Florence.  Doubtful  work. 
Of  marble.  I52i-I534(?). 

In  Gallery  36. 

Reymond,  La  sculpture  florentine,  IV,  p.  98. 

2335  SATYR  MASK,  in  the  Bargello,  Florence.  A doubtful 
work,  supposed  to  date  from  1490.  Of  marble. 

In  Gallery  35. 

Knapp,  Michelangelo,  p.  153. 

Symonds,  Life  of  Michelangelo  Buonarroti,  I,  p.  21. 

SCHOOL  OF  MICHELANGELO 

2336  JASON.  Statue  in  the  South  Kensington  Museum, 
London.  Of  marble.  About  1530  (?). 

In  Gallery  34. 

Robinson,  Italian  Sculpture,  No.  6735. 

2337  PIETA,  with  heads  of  the  Madonna  and  the  dead  Christ. 
Circular  relief  in  the  Albergo  dei  Poveri,  Genoa.  Of 
marble.  Late  sixteenth  century. 

In  Gallery  35. 

Holroyd,  Michel  Angelo,  p.  237. 


MINO  DI  GIOVANNI  DA  FIESOLE,  I43I-I484 
(in  gallery  34) 

2338  MONUMENT  OF  BISHOP  LEONARDO  SALUTATI, 
with  a portrait-bust.  In  a chapel  of  the  Cathedral, 
Fiesole.  Of  marble.  1464-1466. 

Bode,  Denkmdler,  pi.  381. 

2339  GIOVANNI  DE'  MEDICI.  Portrait-bust  in  the  Bar- 
gello, Florence.  Of  marble.  About  1454. 

Bode,  Denkmdler,  pi.  380b. 

2340  NICCOLO  DI  LEONARDO  STROZZI.  Portrait-bust  in 
the  Kaiser  Friedrich  Museum,  Berlin.  Of  marble.  Dated 
1454. 

Bode,  Denkmdler,  pi.  379. 


288  RENAISSANCE  SCULPTURE 

2341  PIERO  DE'  MEDICI.  Portrait-bust  in  the  Bargello, 
Florence.  Of  marble.  About  1454. 

Bode,  Denkmdler,  pi.  380a. 

2342  RINALDO  DELLA  LUNA.  Portrait-bust  in  the  Bar- 
gello,  Florence.  Of  marble.  Dated  1461. 

Bode,  Denkmdler,  pi.  383a. 

2343  A YOUNG  FLORENTINE  WOMAN.  Portrait-bust  in 
the  Kaiser  Friedrich  Museum,  Berlin.  Of  marble.  About 
1470-1475. 

Bode,  Denkmdler,  pi.  398a. 

2344  ST.  JOHN  THE  BAPTIST  as  a child.  Bust  in  the 
Louvre,  Paris.  Of  marble. 

Bode,  Denkmdler,  pi.  383b. 

2345  TABERNACLE  in  the  Cappella  Medici,  Church  of  Santa 
Croce,  Florence.  Of  marble.  About  1473. 

In  Gallery  38. 

Bode,  Denkmdler,  pi.  389a. 

2346  TABERNACLE  in  the  nave  of  the  Church  of  Santa  Maria 
in  Trastevere,  Rome.  Of  marble.  About  1475  (?). 

In  Gallery  38. 

Bode,  Denkmdler,  pi.  389b. 

2347  ALTAR  PIECE,  with  the  Madonna  in  adoration  between 
St.  Leonard  and  St.  Remigius;  and,  below,  the  Christ 
Child,  the  young  St.  John,  and  a beggar.  Above  the  altar 
in  the  Cathedral,  Fiesole.  Of  marble.  Completed  1466. 
Bode,  Denkmdler,  pi.  382. 

2348  FAITH.  An  allegorical  figure  in  relief,  in  the  Kaiser  Fried- 
rich Museum,  Berlin.  Of  marble.  A late  work,  left  un- 
finished at  the  artist’s  death. 

Bode,  Denkmdler,  pi.  391b. 

2349  MADONNA  AND  CHILD.  Circular  relief  on  a bracket 
formed  of  an  angel  holding  a cross,  in  the  Bargello,  Flor- 
ence. Of  marble.  An  early  work. 

Bode,  Denkmdler,  pi.  393. 


ITALIAN  289 

2350  MADONNA  AND  CHILD.  Relief  in  the  Bargello,  Flor- 
ence.  Of  marble. 

Bode,  Denkmdler,  pi.  390c. 

2351  MADONNA  AND  CHILD.  Circular  relief  in  the  Kaiser 
Friedrich  Museum,  Berlin.  Of  marble.  About  1480. 
Bode,  Denkmdler,  pi.  392c. 


NANNI  D'ANTONIO  DI  BANCO,  I373(?)-I420 

(in  gallery  35) 

2352  A-D.  DETAILS  from  the  relief  of  the  Madonna  della 
CiNTOLA,  over  the  north  door  of  the  Cathedral,  Florence. 
Of  marble.  1407-1409. 

A.  Head  of  the  Madonna. 

B-D.  Heads  of  Three  Angels. 

Bode,  Denkmdler,  pi.  40. 


ANTONIO  POLLAIUOLO,  I429-I498 

(in  gallery  35) 

2353  HERCULES  AND  ANTAEUS.  Small  group  in  the  Bar- 
gello, Florence.  Of  bronze. 

Bode,  Denkmdler,  pi.  434b. 

2354  A YOUNG  WARRIOR.  Portrait-bust  in  the  Bargello, 
Florence.  Of  terracotta. 

Bode,  Denkmdler,  pi.  435b. 


JACOPO  DELLA  QUERCIA,  I374-I438 

(in  gallery  33) 

2355  FONT  in  the  Baptistery,  Siena.  Of  marble,  with  reliefs 
and  angels  in  bronze.  1417-1430.  The  whole  was  designed 
by  Jacopo  della  Quercia,  but  the  reliefs  and  statuettes  were 
executed  largely  by  his  pupils  and  other  sculptors,  as  fol- 
lows: The  Birth  of  St.  John  the  Baptist,  by  Giovanni  di 


290 


RENAISSANCE  SCULPTURE 


Turino;  Zacharias  in  the  Temple,  by  Jacopo  della  Quercia; 
the  Preaching  of  John,  by  Giovanni;  the  Baptism  of  Christ, 
and  John  before  Herod,  by  Lorenzo  Ghiberti;  the  Feast 
of  Herod,  by  Donatello.  Of  the  statuettes.  Faith  and 
Hope,  at  the  left  and  right  of  “John  before  Herod,’'  are 
by  Donatello;  the  rest  (to  the  right  of  Hope  and  follow- 
ing), Justice,  Prudence,  Fortitude,  and  Charity,  are 
probably  by  Giovanni.  On  the  Ciborium,  the  bronze  relief 
of  the  Madonna  and  Child  is  by  Giovanni;  and  the  marble 
figures  of  David  (crowned)  and  four  prophets,  as  also 
the  St.  John  above,  are  by  Jacopo  della  Quercia.  Of 
the  bronze  angels,  that  at  the  right,  above  the  Madonna, 
and  the  two  following  are  assigned  to  Giovanni,  and  the 
remaining  three  to  Donatello. 

The  cast  differs  from  the  original  in  the  arrangement  of  the 
reliefs.  The  “ Birth  of  John  ” should  follow  the  “Zacharias 
in  the  Temple.” 

Bode,  Denkmaler,  pis,  8,  60a,  61,  62,  474,  475,  479,  480, 
481a,  c. 

2356  RETABLE  FROM  THE  ALTAR  of  the  Trenta  family  in 
the  Church  of  San  Frediano,  Lucca.  Of  marble.  1413. 
The  five  Gothic  niches  contain  statues  of  the  Madonna 
and  Child,  and  Saints  Lucia,  Lawrence,  Jerome,  and  Sig- 
ismond.  Beneath  in  the  predella  are  reliefs  of  the  Martyr- 
doms of  St.  Lucia  and  St.  Lawrence,  St.  Jerome  taking  the 
thorn  from  the  lion’s  foot,  and  the  miracle  of  the  woman 
freed  of  an  evil  spirit  by  the  body  of  St.  Sigismond. 

Bode,  Denkmaler,  pis.  472,  473. 

2357  TOMB  OF  1 LARI  A DELCARRETTO,  wife  of  Paolo  Guin- 
igi,  in  the  Cathedral,  Lucca.  Of  marble.  1406. 

Bode,  Denkmaler,  pi.  471a. 

2358  DETAILS  EROM  THE  MAIN  DOORWAY  of  the  Church 
of  San  Petronio,  Bologna.  Of  stone.  1425-1438. 

A.  St.  Petronius.  Head  from  the  statue  in  the  lunette. 

B.  St.  Ambrose.  Head  from  the  statue  in  the  lunette, 
finished  by  Domenico  da  Varignana  early  in  the  sixteenth 
century. 

C.  D.  Creation  of  Eve,  and  Expulsion  from  Paradise. 
Reliefs  at  the  sides  of  the  doorway. 


THE  DOORWAY  OF  SAN  PETRONIO,  BOLOGNA,  WITH  SCULPTURES 
BY  JACOPO  DELLA  QUERCIA 


\ 


ITALIAN  291 

E.  Childhood  of  Christ.  Reliefs  from  the  architrave 
representing:  the  Nativity,  the  Adoration  of  the  Magi, 
the  Presentation  in  the  Temple,  the  Slaughter  of  the 
Innocents,  and  the  Flight  into  Egypt. 

Bode,  Denkmaler,  pi.  476. 


ANDREA  DELLA  ROBBIA,  I435-I525 
(IN  GALLERY  39) 

2359  ANNUNCIATION.  A lunette  relief  over  the  door  of  the 
Church  of  Santa  Maria  degli  Innocenti,  in  the  court  of 
the  Hospital  of  the  Innocents,  Florence.  Of  terracotta. 
About  1485. 

Bode,  Denkmaler,  pi.  265,  A.  P.  L. 

2360-2363  MEDALLIONS  WITH  INFANTS  from  the  facade 
of  the  same  Hospital.  Of  terracotta.  1463-1466. 

Bode,  Denkmaler,  pis.  248,  249. 

2364  MADONNA  AND  CHILD,  called  the  Madonna  of  the 
Architects.  Relief  in  the  Bargello,  Florence.  Of  terra- 
cotta. 1475. 

Bode,  Denkmaler,  pi.  253a. 

2365  MADONNA  ADORING  THE  CHILD.  Relief  from  an 
altar  piece,  in  the  Accademia  delle  Belle  Arti,  Florence. 
Of  terracotta. 

Gilman,  Manual,  p.  88. 

2366  CORONATION  OF  THE  VIRGIN.  Altar-piece  in  the 
Convent  of  the  Osservanza,  near  Siena.  Of  terracotta. 
About  1485  (?). 

In  the  Predella  are  small  reliefs  of  the  Annunciation, 
the  Glorification  of  the  Virgin,  and  the  Nativity. 

Bode,  Denkmaler,  pi.  261. 

2367  MEETING  OF  ST.  FRANCIS  AND  ST.  DOMINIC. 
Lunette  relief  over  a door  in  the  Loggia  di  San  Paolo, 
Florence.  Of  terracotta.  1490-1496. 

Bode,  Denkmaler,  pi.  270. 


292  RENAISSANCE  SCULPTURE 

2368  MADONNA  AND  CHILD.  Circular  relief  in  the  Bar- 
gello,  Florence.  Of  terracotta.  About  1500. 

Bode,  Denkmdler,  pi.  269. 

2369  MADONNA  AND  CHILD,  WITH  SAINTS  JACOB  AND 
DOMINIC.  Lunette  relief  over  the  door  of  the  suppressed 
Convent  of  S.  Jacopo  di  Ripoli,  in  the  Via  della  Scala, 
Florence.  Of  terracotta.  A late  work. 

Reymond,  Les  della  Robbia,  p.  218. 


SCHOOL  OF  ANDREA  DELLA  ROBBIA 
(in  GALLERY  39) 

2370  MADONNA  ADORING  THE  CHILD.  Relief  from  an 
altar-piece,  in  the  Casa  Ricasoli,  Florence.  Of  terracotta. 
C/.  Cavallucci  et  Molinier,  Les  della  Robbia,  p.  259. 

Lelli,  Sale  Catalogue  of  Casts  (1899),  No.  1157. 


LUCA  DELLA  ROBBIA,  I4OO-I482 
(in  gallery  39) 

2371  ONE  OF  THE  SINGING  GALLERIES,  formerly  in  the 
Cathedral,  and  now  in  the  Opera  del  Duomo,  Florence. 
Of  marble.  1431-1438. 

Bode,  Denkmdler,  pis.  194- 199. 

2372  DOORS  of  the  New  Sacristy  of  the  Cathedral,  Florence. 
Of  bronze,  originally  damascened  in  gold  and  silver.  1446- 
about  1470.  Luca  was  assisted  by  Michelozzo  and  Maso 
di  Bartolommeo. 

The  central  figures  in  the  panels,  each  attended  by  two  an- 
gels, are:  The  Madonna  and  Child;  St.  John  the  Baptist; 
St.  John  the  Evangelist;  St.  Matthew;  St.  Luke;  St.  Mark; 
and  the  four  Fathers  of  the  Church,  Saints  Ambrose, 
Jerome,  Gregory,  and  Augustine.  (See  also  No.  2376). 
Bode,  Denkmdler,  pi.  214. 

Cruttwell,  Luca  and  Andrea  della  Robbia,  pp.  80-88. 

2373  TOMB  OF  BENOZZO  FEDERIGHI,  BLhop  of  Fiesole, 
in  the  Church  of  the  Santa  Trinita,  Florence.  Of  marble. 
1456-1457. 


THE  OSEEDALE  DEL  CEEPO,  IMSTOIA,  SHOWING  THE  DELLA  ROBBIA  FRIEZE 


% 


9 


ITALIAN  293 

Back  of  the  sarcophagus  and  effigy  are  figures  in  relief  of 
the  Virgin,  Christ  Risen,  and  St.  John  the  Evangelist. 
Bode,  Denkmdler,  pi.  235. 

2374  VISITATION  OF  THE  VIRGIN  TO  ST.  ELIZABETH. 
Group  over  an  altar  in  the  Church  of  San  Giovanni  fuor 
Civitas,  Pistoia.  Of  terracotta.  A late  work. 

Bode,  Denkmdler,  pi.  232. 

2375  A YOUNG  WOMAN.  Portrait-bust  in  high  relief,  in  the 
Bargello,  Florence.  Of  terracotta.  About  1460. 

Bode,  Denkmdler,  pi.  228b. 

2376  RESURRECTION  OF  CHRIST.  Tympanum  relief  over 
the  door  of  the  New  Sacristy  of  the  Cathedral,  Florence. 
Of  terracotta.  1443. 

Bode,  Denkmdler,  pi.  210. 


2377  TUBAL  CAIN,  or  Harmony.  Relief  from  the  exterior 
of  the  Campanile,  Florence.  Of  marble.  1437-1439. 
Bode,  Denkmdler,  pi.  202b. 


DELLA  ROBBIA  SCHOOL 

(in  gallery  39) 

2378  A-B.  VISITING  THE  SICK,  and  EEEDING  THE 
POOR.  Two  of  the  Seven  Works  of  Mercy  which  form 
a frieze  on  the  facade  of  the  Ospedale  del  Ceppo,  Pistoia. 
Of  terracotta.  15 14-1525. 

Bode,  Denkmdler,  pi.  278. 

2379  CORONATION  OF  THE  VIRGIN.  Lunette  relief  in 
the  facade  of  the  Church  of  San  Salvadore  d’  Ognissanti, 
Florence.  Of  terracotta.  Late  fifteenth  century. 

At  the  base  of  the  relief  are:  St.  Benedict,  a Martyr,  Saints 
John  the  Baptist,  Peter,  Gregory  the  Great,  Augustine, 
and  Lucia. 

Reymond,  Les  della  Rohhia,  p.  235. 


294  RENAISSANCE  SCULPTURE 

ANTONIO  DI  MATTEO  DI  DOMENICO  GAMBARELLI,  CALLED 
ROSSELLINO,  I427-I478(?) 

(in  gallery  35) 

2380  MONUMENT  OF  CARDINAL  JACOPO  of  Portugal,  in 
the  Chapel  of  San  Giacomo,  Church  of  San  Miniato  al 
Monte,  Florence.  Of  marble.  Begun  1461. 

Bode,  Denkmdler,  pi.  324. 

2381  ST.  JOHN  THE  BAPTIST  as  a chUd.  Statue  in  the 
Bargello,  Florence.  Of  marble.  1477. 

Bode,  Denkmdler,  pi.  333b. 

2382  MATTEO  PALMIER  I.  Portrait-bust  in  the  Bargello, 
Florence.  Of  marble.  Signed  and  dated  1468. 

Bode,  Denkmdler,  pi.  327b. 

2383  A FLORENTINE.  Portrait-bust  in  the  Kaiser  Fried- 
rich Museum,  Berlin.  Of  marble. 

Bode,  Denkmdler,  pi.  327a. 

2384  ST.  JOHN  THE  BAPTIST  as  a child.  Bust  in  the  Church 
of  San  Francesco  dei  Vanchetoni,  Florence.  Of  marble. 
Bode,  Denkmdler,  pi.  334b. 

2385  MADONNA  AND  CHILD,  with  two  cherubim.  Relief 
in  the  Libri  collection,  Paris  (?).  Of  marble. 

Bode,  Denkmdler,  pi.  557b. 

2386  MADONNA  AND  CHILD.  Relief  in  the  South  Ken- 
sington Museum,  London.  Of  marble. 

Bode,  Denkmdler,  pi.  337b,  p.  103. 

2387  MADONNA  AND  CHILD.  Relief  in  the  Bargello,  Flor- 
ence. Of  marble. 

Bode,  Denkmdler,  pi.  329c. 

2388  MADONNA  AND  CHILD,  called  the  Madonna  del 
Latte.  Relief  in  the  Church  of  Santa  Croce,  Florence. 
Of  marble. 

Bode,  Denkmdler,  pi.  326. 


ITALIAN  295 

2389  MADONNA  AND  CHILD.  Relief  in  the  Via  della 
Spada,  Florence.  Of  marble. 

Lelli,  Sale  Catalogue  of  Casts  (1899),  No.  471. 

2390  WORSHIP  OF  THE  SHEPHERDS.  Circular  relief  in 
the  Bargello,  Florence.  Of  m.arble.  About  1468-1470. 
Bode,  Denkmdler,  pi.  325a. 

THE  FOLLOWING  WORKS  ARE  ATTRIBUTED  TO  ANTONIO  ROSSELLINO 
BY  SOME  authorities: — 

2391  FRANCESCO  SASSETTI.  Portrait-bust  in  the  Bar- 
gello, Florence.  Of  marble. 

Reymond,  La  sculpture  florenitne,  HI,  p.  91. 

2392  ST.  JOHN  THE  BAPTIST  as  a boy.  Bust  in  the  Pin- 
acoteca,  Faenza.  Of  marble. 

Bode,  Denkmdler,  pi.  334c. 

2393  THE  CHRIST  CHILD.  Bust  in  the  Botkina  collection, 
St.  Petersburg.  Of  marble. 

Bode,  Denkmdler,  pi.  308b,  p.  105. 

2394  THE  CHRIST  CHILD.  Bust  in  the  Church  of  San 
Francesco  dei  Vanchetoni,  Florence.  Of  marble. 

Bode,  Denkmdler,  pi.  333c. 

2395  THE  CHRIST  CHILD.  Relief  in  the  Louvre.  Of  marble. 
Bode,  Denkmdler,  pi.  312a,  p.  105. 


BERNARDINO  DI  MATTEO  DI  DOMENICO  GAMBARELLI, 
CALLED  ROSSELLINO,  I409-I464 

(in  gallery  34) 

2396  LEONARDO  BRUNI.  Head  from  the  effigy  on  his  tomb 
in  the  Church  of  Santa  Croce,  Florence.  Of  marble. 
About  1444. 

Bode,  Denkmdler,  pi.  315. 


296  RENAISSANCE  SCULPTURE 

LORENZO  DI  PIETRO,  CALLED  IL  VECCHIETTA, 
I4I2(?)-I48o 
(in  gallery  36) 

2397  MARIANO  SOZZINO.  Effigy  from  his  tomb,  in  the 
Bargello,  Florence.  Of  bronze.  1467. 

Bode,  Denkmdler,  pi.  494b. 

ANDREA  Dl  MICHELE  DI  FRANCESCO  DE’  CIONI,  CALLED 
VERROCCHIO,  i436(?)-i488 

(in  gallery  35 ) 

239S  BARTOLOMMEO  COLLEONI  of  Bergamo,  General  of 
the  Republic  of  Venice.  Equestrian  statue  in  the  Campo 
Santi  Giovanni  e Paolo,  Venice.  Commissioned  in  1479, 
and  cast  in  bronze  by  Alessandro  Leopardi,  1490-1493, 
after  the  death  of  Verrocchio. 

In  Gallery  38. 

Bode,  Denkmdler,  pi.  457. 

2399  DAVID.  Statue  in  the  Bargello,  Elorence.  Of  bronze. 
Between  1466  and  1476. 

Bode,  Denkmdler,  pi.  439. 

2400  BOY  WITH  A FISH.  Statue  on  a fountain  in  the  court 
of  the  Palazzo  Vecchio,  Florence.  Of  bronze.  About 
i47o(?). 

Bode,  Denkmdler,  pi.  439  A.  P.  L. 

2401  BOY  ON  A GLOBE.  Statue  in  the  Dreyfus  collection, 
Paris.  Of  terracotta.  About  1470. 

Bode,  Denkmdler,  pi.  440. 

2402  YOUNG  WOMAN  WITH  A FLOWER.  Portrait-bust 
in  the  Bargello,  Florence.  Of  marble. 

Bode,  Denkmdler,  pi.  443. 

2403  PIERO  Dl  LORENZO  DE’  MEDICI  (?).  Portrait-bust 
in  the  Bargello,  Florence.  Of  terracotta.  A doubtful 
work. 

Bode,  Denkmdler,  pi.  442b. 


ITALIAN 


297 

2404  COSIMO  DE’  MEDICI  THE  ELDER.  Portrait-bust  in 
relief,  in  the  Kaiser  Friedrich  Museum,  Berlin.  Of  mar- 
ble. 

Bode,  Denkmaler,  pi.  464b. 

2405  BEATRICE  OF  ARAGON,  wife  of  Matthias  Corvinus. 
Portrait-bust  in  relief,  in  the  Kaiser  Friedrich  Museum, 
Berlin.  Of  marble. 

Bode,  Denkmaler,  pi.  463a. 

2406  MADONNA  AND  CHILD.  Relief  in  the  Bargello, 
Florence.  Of  marble. 

Bode,  Denkmaler,  pi.  445. 

2407  ENTOMBMENT  OF  CHRIST.  Relief  in  the  Kaiser 
Friedrich  Museum,  Berlin.  Of  terracotta.  Possibly  a 
model  for  a larger  work. 

Bode,  Denkmaler,  pi.  456a. 


BY  UNKNOWN  ARTISTS  OF  THE  FLORENTINE  SCHOOL 

2408  A YOUNG  FLORENTINE  WOMAN.  Portrait-bust  in 
the  Louvre,  Paris.  Of  wood,  painted  and  gilded.  About 
1450. 

In  Gallery  36. 

Bode,  Denkmaler,  pi.  554a. 

2409  ISOTTA  DA  RIMINI  (so  called).  Portrait-bust  in  the 
Campo  Santo,  Pisa.  Of  marble.  About  1450. 

In  Gallery  34. 

Bode,  Denkmaler,  pi.  552a. 

2410  LORENZO  THE  MAGNIFICENT.  Bust  made  from 
his  death-mask  (1492),  in  the  possession  of  the  Societa 
Colombaria,  Florence. 

In  Gallery  34. 

2411  NICCOLO  MACHIAVELLI.  Portrait-bust  in  the  Bar- 
gello, Florence.  Of  marble.  Early  sixteenth  century. 

In  Gallery  35. 

Miintz,  Histoire  deVart,  II,  p.  209. 


298  RENAISSANCE  SCULPTURE 

LOMBARD  SCHOOL 

GIOVANNI  ANTONIO  AMADEO,  I447-I522 
(IN  GALLERY  35  ) 

2412  A-G.  DEATH  SCENES  OF  THE  EGYPTIAN  MARTYRS 
Mario,  Marta,  Audifaccio,  and  Abaccuco,  and  Emperor 
Claudius  giving  orders  for  their  execution.  Reliefs  de- 
signed for  a shrine,  and  now  set  into  the  pulpit  in  the 
Cathedral,  Cremona.  Of  marble.  1482. 

Perkins,  Historical  Handbook,  p.  188. 


BENEDETTO  BRIOSCO,  XV-XVI  CENTURIES 

(in  gallery  36 ) 

2413  DUKES  AND  DUCHESSES  OF  MILAN.  Portrait 
busts  in  relief,  over  the  doorways  of  the  old  Sacristy  and 
the  Stanza  del  Lavabo,  in  the  Certosa  at  Pavia.  Of 
marble.  1477. 

Beginning  at  the  left,  they  are:  Bianca  Maria  Visconti, 
wife  of  Francesco  Sforza;  Bona  Maria,  wife  of  Galeazzo 
Maria  Sforza;  Giovanni  Maria,  son  of  Giovanni  Galeazzo 
Maria  Sforza;  Filippo  Maria,  son  of  Gian  Galeazzo  Vis- 
conti; Antonietta  Malatesta;  Lodovico  Sforza  (“II 
Moro”),  son  of  Francesco  Sforza;  Isabella  of  Aragon, 
wife  of  Giovanni  Galeazzo  Maria  Sforza. 

Gauthiez,  Milan,  pp.  65,  66. 

2414  CATERINA,  wife  of  Gian  Galeazzo  Visconti.  Portrait- 
bust  over  the  doorway  of  the  Stanza  del  Lavabo,  in  the 
Certosa  at  Pavia.  Of  marble.  1477. 

Gauthiez,  Milan,  p.  66. 


AGOSTINO  BUSTI,  CALLED  BAMBAIA,  I48o(?)-I548 

(in  gallery  36) 

2415  A-J.  DETAILS  FROM  THE  TOMB  OF  GASTON  DE 
FOIX.  In  the  Gastello  Sforzesco,  Milan.  Of  marble. 
Ordered  in  1515,  but  never  completed. 


A.  Effigy  of  Gaston  de  Foix. 


ITALIAN  299 

B-H,  Reliefs  Representing  his  Victories  in  the 
Wars  of  the  Papacy. 

B.  Triumphal  Return  to  Bologna  after  repulsing  an 
attack. 

C.  Departure  from  Bologna  to  recapture  Brescia. 

D.  E.  Encounter  with  Giampolo  at  Isola  della  Bella. 

(E  may  perhaps  be  interpreted  as  Gaston’s  pursuit  of  the 
Spanish  infantry  at  Ravenna,  when  he  was  unhorsed 
and  killed). 

F.  Capture  of  Brescia. 

G.  Battle  of  Ravenna,  in  which  Gaston  de  Foix  was 
killed,  April  12,  1512. 

H.  Funeral  Procession  of  Gaston  to  Milan. 

I.  J.  Panels  of  ornament. 

In  Gallery  38. 

Miintz,  Histoire  de  V art,  II,  pp.  6,  552. 


AMBROGIO  FOPPA,  CALLED  CARADOSSO,  ABOUT  I452-I53O 

(in  gallery  36) 

2416  FRIEZE,  with  a head  and  putti,  from  the  sacristy  of  the 
Church  of  San  Satiro,  Milan.  Of  terracotta,  overlaid  with 
bronze.  About  1488. 

Anderson,  Architecture  of  the  Renaissance,  p.  57  and  pi.  23. 


GIAN  CRISTOFORO  ROMANO,  ABOUT  I465-I512 

(in  gallery  36) 

2417  A,  B.  DETAILS  FROM  THE  MONUMENT  OF  GIAN 
GALEAZZO  VISCONTI.  In  the  Certosa  at  Pavia.  Of 
marble.  Begun  in  1494-1497  by  Romano  and  Benedetto 
Briosco,  and  finished  in  1562  by  Galeazzo  Alessi  and  others. 


300 


RENAISSANCE  SCULPTURE 


A.  An  end  of  the  Monument  with  a relief  by  Amadeo(?) 
of  a battle  in  which  Galeazzo  was  prominent. 

B.  Bust  from  the  eifigy  on  the  sarcophagus  designed 
by  Alessi. 

Beltrami,  Die  Certosa  von  Pavia,  pi.  6,  pp.  97,  167. 


2418  TEODORINA  Cl  BO,  wife  of  Gherardo  Usodimare.  Por- 
trait-bust in  the  Kaiser  Friedrich  Museum,  Berlin.  Of 
marble.  Early  sixteenth  century  (?). 

Bode  and  Tschudi,  Bildwerke,  No.  225. 


CRISTOFORO  SOLARIO,  ABOUT  I475-I525 

(in  gallery  36) 

2419  A,  B.  LODOVICO  SFORZA,  called  ‘41  Moro,’’  and  his 
wife  Beatrice  d’  Este.  Heads  of  the  effigies  from  the 
demolished  monument  of  the  latter,  in  the  Certosa,  Pavia. 
Of  marble.  About  1497. 

Meyer,  Oheriialienische . . .Dauten,  Part  2,  p.  174. 


ROMAN  SCHOOL 
ANDREA  BREGNO,  I42I-I506 

(in  gallery  34) 

2420  CARDINAL  CRISTOFORO  DELLA  ROVERE.  Effigy 
and  sarcophagus  from  his  monument  in  the  Church  of 
Santa  Maria  del  Popolo,  Rome.  Of  marble.  1477. 
Burckhardt,  Cicerone,  II,  p.  459d. 

2421  TABERNACLE,  with  four  angels  and  ornament  in  relief, 
formerly  in  the  Church  of  Santa  Maria  del  Popolo,  Rome, 
and  now  in  the  Kaiser  Friedrich  Museum,  Berlin.  Of 
marble.  Late  fifteenth  century. 

Bode  and  Tschudi,  Bildwerke,  No.  203. 


THE  TOMB  OF  GIAN  GALEAZZO  VISCONTI,  IN  THE  CERTOSA  AT  PAVIA 


♦ 


ITALIAN 


301 


GIOVANNI  DA  BOLOGNA,  I529-1608 
(in  galleries  35  AND  36) 

2422  MERCURY.  Statue  in  the  Bargello,  Florence.  Of 
bronze.  1564. 

In  Gallery  35. 

Desjardins,  La  vie  de  Jean  Bologne,  p.  30. 

2423  A,  B.  THE  SCOURGING  OF  CHRIST,  AND  BEARING 
OF  THE  CROSS.  Two  of  the  six  reliefs  of  the  Passion 
which  decorate  the  Cappella  della  Madonna  del  Soccorso, 
in  the  Church  of  the  Annunziata,  Florence.  Of  bronze. 
1594-1598. 

In  Gallery  36. 

Desjardins,  La  vie  de  Jean  Bologne,  pp.  88-90. 


BY  UNKNOWN  ARTISTS  OF  THE  ROMAN  SCHOOL 

2424  POPE  GREGORY  XI 1 1.  Portrait-bust  in  the  Kaiser 
Friedrich  Museum,  Berlin.  Of  bronze.  About  1580. 

In  Gallery  35. 

Bode  and  Tschudi,  Bildwerke,  No.  216. 

2425  ANNUNCIATION.  Three  circular  reliefs  with  the  An- 
gel Gabriel,  the  Dove,  and  the  Virgin,  from  an  altar  in 
the  Cappella  Costa,  Church  of  Santa  Maria  del  Popolo, 
Rome.  Of  marble.  1489. 

In  Gallery  35. 

Strack,  Baudenkmaler  Roms,  pi.  7. 


VENETIAN  SCHOOL 

BARTOLOMMEO  BELLANO,  ABOUT  I43O-I498 

(in  gallery  36) 

2426  ST.  JOHN  THE  EVANGELIST  AND  HIS  SCHOOL. 
Relief  from  a lunette,  formerly  in  the  Scuola  di  San  Gio- 
vanni, Venice,  and  now  in  the  Kaiser  Friedrich  Museum, 
Berlin.  Of  limestone.  About  the  middle  of  the  fifteenth 
century.  Doubtful  work. 

Bode,  lialienische  Plastik,  p.  122. 


302 


RENAISSANCE  SCULPTURE 


ALESSANDRO  LEOPARDI,  DIED  I 522 

(in  gallery  17) 

2427  BASE  OF  ONE  OF  THE  FLAGSTAFFS  in  the  Piazza 
of  St.  Mark,  Venice.  Of  bronze.  1505. 

Gusman,  Venise,  p.  78. 


ANTONIO  RIZZI,  ABOUT  I43O-I498 

(in  gallery  34) 

2428  TOMB  OF  CARDINAL  PIETRO  FOSCARI,  with  his 
elfigy,  in  the  Church  of  Santa  Maria  del  Popolo,  Rome.  Of 
marble  and  bronze.  About  1485. 

Burckhardt,  Cicerone,  II,  505g. 


JACOPO  TATTI,  CALLED  SANSOVINO,  I486-I57O 
(in  galleries  34  AND  35) 

2429  BACCHUS  AND  A FAUN.  Statue  in  the  Bargello, 
Florence.  Of  marble.  About  1513. 

In  Gallery  34. 

Bode,  Denkmaler,  pi.  541a. 

2430  MADONNA  AND  CHILD  with  Saints  Francis  and 
Catherine  of  Siena  at  the  right,  and  Saint  Jacob  and  anoth- 
er saint  at  the  left.  Relief  in  the  Kaiser  Friedrich  Museum, 
Berlin.  Of  terracotta,  painted  white  and  gilded.  After 
1527. 

In  Gallery  35. 

Bode  and  Tschudi,  Bildwerke,  No.  231. 


JACOPO  ALESSANDRO  VITTORIA  DELLA  VOLPE, 

1525-1608 

(IN  GALLERY  34) 

2431  PIETRO  ZENO.  Portrait-bust  in  the  Kaiser  Friedrich 
Museum,  Berlin.  Of  marble.  About  1585. 

Bode  and  Tschudi,  Bildwerke,  No.  248. 


ITALIAN 


303 


MASTER  OF  SAN  TROVASO,  XV-XVI  CENTURIES 

(in  gallery  34) 

2432,  2433  ANGELS  with  symbols  of  the  Passion  and  musical 
instruments.  Reliefs  from  altar  frontals.  Of  marble. 
About  1 500. 

2432  In  the  Church  of  San  Trovaso,  Venice. 

Paoletti,  U architettura,  II,  pi.  49. 

2433  In  the  Kaiser  Friedrich  Museum,  Berlin. 

Bode  and  Tschudi,  Bildwerke,  No.  172. 


BY  UNKNOWN  ARTISTS  OF  THE  VENETIAN  SCHOOL 

2434  GUIDARELLO  GUIDARELLI.  Effigy  from  his  tomb, 
in  the  Accademia  delle  Belle  Arti,  Ravenna.  Of  marble. 
About  1501.  Attributed  to  Tullio  Lombardi. 

In  Gallery  36. 

Miintz,  Hisioire  de  V art,  II,  p.  263. 

Gilman,  Manual,  p.  130. 

2435  MADONNA  AND  CHILD  with  two  portrait-busts  of 
donors  in  relief.  In  the  Kaiser  Friedrich  Museum,  Berlin. 
Of  marble.  End  of  the  fifteenth  century. 

In  Gallery  35. 

Bode  and  Tschudi,  Bildwerke,  Nos.  180-182. 

2436  GOD  THE  FATHER  BLESSING.  Relief  in  the  Kaiser 
Friedrich  Museum,  Berlin.  Of  marble.  End  of  the 
fifteenth  century. 

In  Gallery  35. 

Bode  and  Tschudi,  Bildwerke,  No.  179. 

2437.  DETAILS  FROM  THE  CHOIR-SCREEN  in  the  Church 
of  the  Frari,  Venice.  Of  marble.  1475. 

A.  Prophets.  Busts  in  relief  decorating  the  panels. 

In  Gallery  36. 

B,  C.  Fragments  of  a pilaster  and  a frieze,  with  Gothic 
ornament. 

In  Gallery  38. 

Gusman,  Venise,  pp.  45,  47. 

Paoletti,  U architettura,  I,  pi.  17. 


304  RENAISSANCE  SCULPTURE 

ANTONIO  CANOVA,  I757-1822 

2438  CUPID  AND  PSYCHE.  Group  in  the  Villa  Carlotta, 
Cadenabbia.  Of  marble.  Between  1785  and  1795. 

This  cast  is  the  plaster  model  from  which  the  original  mar- 
ble was  made,  and  is  the  gift  of  Mr.  Isidor  Straus. 

In  Gallery  32. 

Meyer,  Canova,  p.  27. 


THE  FOUNTAIN  OF  THE  INNOCENTS,  PARIS 


■fS 

\ 


i 

I 


I 


I 


f 

I 

1 


FRENCH 

(in  gallery  32) 

MICHEL  COLOMBE,  ABOUT  143O-I512 

2481  ST.  GEORGE  AND  THE  DRAGON.  Relief  designed 
for  the  altar  in  the  Chapel  of  the  Chateau  of  Gaillon,  and 
now  in  the  Louvre,  Paris.  Of  marble.  1508. 

Gonse,  La  sculpture  jranfaise,  p.  62. 

2482  DETAIL  FROM  THE  TOMB  OF  FRANCOIS  II,  Duke 
of  Brittany,  and  his  wife.  Marguerite  de  Foix.  In  the 
Cathedral  of  St.  Pierre,  Nantes.  Of  marble.  1502-1507. 
The  cast  shows  one-half  of  the  rear  end  of  the  sarcophagus, 
with  a statuette  of  a king  in  the  niche,  and  a mourning 
monk  in  the  medallion. 

Marcou,  Album,  IV,  pi.  14. 


BASTIEN  FRANCOIS,  DIED  I 523 

2483  THE  FONTAINE  DE  BEAUNE.  In  the  Place  du  Grand 
Marche,  Tours.  Of  stone  and  metal.  Erected  1511. 
Bastien  Francois  was  assisted  by  Martin  Francois  and 
others. 

Vitry,  Tours,  p.  55. 


JEAN  GOUJON,  ABOUT  I5IO-I564 

2484  DIANA.  Head  from  the  group  of  Diana  and  the  stag 
in  the  Louvre,  Paris.  Of  marble. 

Gonse,  La  sculpture  frangaise,  p.  no. 


RENAISSANCE  SCULPTURE 


306 

2485  A-D.  WATER  NYMPHS.  Four  reliefs  formerly  on  the 
Fountain  of  the  Innocents,  and  now  in  the  Louvre,  Paris. 
Of  marble.  1550. 

Marcou,  Album,  IV,  pi.  68,  No.  i. 

Baudot,  La  sculpture  jrangaise,  pi.  28,  Nos.  i,  2. 

Paris,  Trocadero,  I,  pi.  109. 

2486  A-L.  THE  SIGNS  OF  THE  ZODIAC.  Twelve  reliefs, 
in  a private  collection  in  Paris,  supposed  to  be  models  for 
the  wooden  panels  formerly  in  the  Salon  du  Zodiaque  in 
the  old  Hotel  de  Ville,  Paris. 

Vachon,  L’ ancien  hotel  de  ville,  pis.  59,  119,  167. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  Nos.  2265- 
2276. 

2487  A-D.  THE  EVANGELISTS  MATTHEW,  MARK,  LUKE, 
AND  JOHN.  Reliefs  on  an  altar  formerly  in  the  Chapel 
of  the  Chateau  of  Ecouen,  and  now  in  the  Chapel  of  the 
Chateau  at  Chantilly.  Of  stone.  1544-1547. 

Marcou,  Album,  IV,  pi.  69. 

Havard,  La  France,  V,  p.  85. 

2488  DIANA,  WITH  STAG  AND  HOUNDS.  Relief  in  the 
frieze  of  a chimney-piece  in  the  Palace  at  Fontainebleau. 
Of  marble. 

Reveil,  L’CEuvre  de  Jean  Goujon,  pi.  88. 

2489  CUPID.  Small  model  in  bronze.  In  the  Musee  de  Cluny, 
Paris. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  1602. 

JEAN  DE  ROUEN,  XV-XVI  CENTURIES 

249D  PULPIT  in  the  Church  of  Santa  Cruz,  Coimbra,  Portugal. 
Of  stone.  1522. 

In  Gallery  38. 

Haupt,  Die  Bauhunst  in  Portugal,  H,  p.  76. 


JACQUES  JULIOT,  DIED  I 567,  AND  FRANCOIS  GIRARDON, 
ABOUT  1628-1715 

2491  A-D.  RELIEFS  FROM  THE  ALTAR  of  the  Holy  Sac- 


FRENCH  307 

rament,  in  the  Church  of  St.  Jean,  Troyes.  Of  marble. 
Begun  1530,  and  finished  by  Girardon. 

A.  The  Bearing  of  the  Cross. 

B.  Crucifixion. 

C.  Entombment. 

D.  Resurrection. 

Marcou,  Album,  IV,  pi.  73. 


ANTOINE  JUSTE  (FLORENTINE  DESCENT),  DIED  I519 

2492  A YOUNG  MAN  HELMETED.  Bust,  formerly  in  the 
Chateau  of  Gaillon,  now  in  the  Louvre,  Paris.  Of  marble. 
Early  sixteenth  century.  Also  attributed  to  Jean  Juste. 
Geffroy,  La  sculpture  au  Louvre,  pp.  1 13,  1 17. 


JACQUES  MOREL,  DIED  I459 

2493  A-B.  CHARLES  I,  Duke  of  Bourbon,  and  his  wife  Agnes 
OF  Burgundy.  Effigies  from  their  tomb  in  the  Priory 
Church,  Souvigny.  Of  alabaster.  1448. 

In  Gallery  31. 

Marcou,  Album,  III,  pi.  42. 

Gonse,  Les  chefs-d'oeuvre,  p.  127. 

GERMAIN  PILON,  I535~I590(?) 

2494  THE  THREE  GRACES.  Group  that  bears  the  urn 
intended  to  contain  the  heart  of  Henri  H.  In  the  Louvre, 
Paris.  Of  marble.  1559-1562. 

Geffroy,  La  sculpture  au  Louvre,  p.  118. 

2495  CHARLES  IX.  Portrait-bust  in  the  Louvre,  Paris. 
Of  marble.  About  1571. 

Marcou,  Album,  IV,  pi.  80. 

2496  A CHILD,  called  Henri  IV.  Small  portrait-bust  in  the 
Louvre,  Paris.  Of  marble. 

Gonse,  La  sculpture  frangaise,  p.  133. 


3o8  renaissance  sculpture 

2497  VALENTINE  BAEBIANI,  wife  of  Chancellor  Rene  de 
Birague.  Effigy  in  relief  from  her  tomb,  now  in  the  Louvre, 
Paris.  Of  marble.  Soon  after  1572. 

Geffroy,  La  sculpture  au  Louvre,  plate  opposite  p.  120. 

2498  SMALL  CHERUB  HEAD  in  relief.  In  a private  collec- 
tion, Paris. 

Ecole  des  Beaux-Arts,  Sale  Catalogue  of  Casts,  No.  592. 

BARTHELEMY  PRIEUR,  BEFORE  I55O-161I 

2499  ABUNDANCE.  One  of  the  statuettes  from  the  tomb 
of  Constable  Anne  de  Montmorency.  Now  in  the  Louvre, 
Paris.  Of  bronze.  1573. 

Geffroy,  La  sculpture  au  Louvre,  p.  119. 

GUILLAUME  REGNAULT  AND  JEROME  DE  FIESOLE,  XV-XVI 

CENTURIES 

2500  THE  CHILDREN  OF  CHARLES  VlII.  Effigies  and 
sarcophagus  in  the  Cathedral,  Tours.  Of  marble.  Made 
under  the  direction  of  Michel  Colombe,  1506. 

Gonse,  La  sculpture  jrangaise,  p.  57. 

CLAUX  DE  WERWE,  XIV-XV  CENTURIES 

2501  A-L.  MOURNING  BISHOP  AND  MONKS.  Twelve 
of  the  forty  statuettes  on  the  tomb  of  Philippe  le  Hardi, 
Duke  of  Burgundy,  in  the  Musee  de  L Hotel  de  Ville,  Dijon. 
Of  marble.  Finished  1412.  Two  of  the  forty  figures  are 
by  Claux  Sluter  (died  1404). 

Gonse,  Les  chejs-d’ceuvre,  p.  144. 

BY  UNKNOWN  ARTISTS  OF  THE  FRENCH  SCHOOL 

2302  TOMB  OF  ADMIRAL  PHILIPPE  DE  CHABOT.  In 
the  Louvre,  Paris.  Of  marble.  1543-1547. 

Gonse,  La  sculpture  jrangaise,  p.  119. 

2503  FRANCOIS  I.  Portrait-bust  in  the  Louvre,  Paris.  Of 
bronze.  First  half  of  the  sixteenth  century. 

Geffroy,  La  sculpture  au  Louvre,  p.  113. 


FRENCH 


309 


FRANfOIS  ANGUIER,  1604-1669 

>.504  A-D.  JUSTICE,  TEMPERANCE,  FORCE,  PRUD- 
ENCE.  Reliefs  from  the  monument  of  Henry,  Duke  of 
Longueville,  in  the  Louvre,  Paris.  Of  marble.  1663. 
Clarac,  Musee  de  sculpture,  II,  p.  816,  and  pi.  234,  Nos. 
378-381. 


THE  FOLLOWING  ARE  OF  THE  XVIII  CENTURY 

(in  gallery  32) 

JEAN  JACQUES  CAFFIERI,  1725-I792 

2505  JEAN-BAPTISTE  ROUSSEAU.  Portrait-bust  in  the 
foyer  of  the  Theatre  Franfais,  Paris.  Of  marble.  Signed 
and  dated  1787. 

Guiffrey,  Les  Caffleri,  p.  379. 


JEAN  ANTOINE  HOUDON,  I74I-1828 

2506  VOLTAIRE.  Head  from  the  seated  statue  in  the  foyer  of 
the  Theatre  Franfais,  Paris.  Of  marble.  1778. 

Gonse,  La  sculpture  jrangaise,  frontispiece. 

2507  VOLTAIRE.  Portrait-bust  in  the  Palace  at  Versailles. 
Of  marble.  Dated  1782. 

Gonse,  La  sculpture  jrangaise,  p.  248. 


2508  ROBESPIERRE,  so  called.  Portrait-bust,  attributed  to 
Houdon.  In  the  Palace  at  Versailles.  Of  terracotta. 
Marcou,  Album,  V,  pi.  47. 


FELIX  LECOMTE,  I737-1817 

2509  MARIE  ANTOINETTE.  Portrait-bust  in  the  Palace  at 
Versailles.  Of  marble.  Signed  and  dated  1783. 

Marcou,  Album,  V,  pi.  46. 


310 


RENAISSANCE  SCULPTURE 


BY  UNKNOWN  FRENCH  ARTISTS  OF  THE  XVIII 
CENTURY 

2510  MME.  ELIZABETH,  sister  of  Louis  XVI.  Portrait-bust 
in  the  Palace  at  Versailles.  Of  marble. 

Marcou,  Album,  V,  pi.  40. 

2511  MARIE  ADELAIDE,  Queen  of  Sardinia.  Portrait-bust, 
in  the  Palace  at  Versailles.  Of  marble. 

Marcou,  Album,  V,  pi.  39. 


GERMAN 

(in  gallery  37) 

STEPHAN  GODL,  XV-XVI  CENTURIES 

2541  MADONNA  AND  CHILD.  Small  group  in  the  Church 
of  St.  Sebald,  Nuremberg.  Of  bronze.  About  1520. 

Bode,  Geschichte,  p.  158. 

Daun,  P.  Vischer,  p.  54. 

ADAM  KRAFFT,  ABOUT  I45O-I507 

2542  MADONNA  AND  CHILD.  Group  on  the  corner  of  a 
private  house  in  the  Bindergasse,  Nuremberg.  Of  stone. 
Daun,  P.  Fischer,  p.  123. 

2543,  2544  FOURTH  AND  SEVENTH  STATIONS  OF  THE 
CROSS.  Two  of  the  seven  reliefs  formerly  set  on  sand- 
stone pillars  on  the  road  to  St.  John’s  Cemetery,  and  now 
in  the  Germanic  Museum,  Nuremberg.  Of  stone.  1490. 

2543  Christ’s  Meeting  with  St.  Veronica;  fourth 
station. 

2544  The  Dead  Christ  with  the  Three  Marys  and 
others;  seventh  station. 

Daun,  P.  Fischer,  pp.  88,  91. 

PANCRATZ  LABENWOLF,  I492-I563 

2545  "THE  LITTLE  GOOSEMAN.  Statuette  on  a fountain  in 
the  Gansemarkt,  Nuremberg.  Of  bronze.  About  1550. 
Daun,  P.  Fischer,  p.  71. 

NICOLAS  (LERCH)  VON  LEYDEN,  XV  CENTURY 

254^>  ^547  J^COB  OF  LICHTENBERG,  Count  of  Hanau, 
and  his  favorite,  Barbe  of  Hottenheim.  Portrait-busts 


312 


RENAISSANCE  SCULPTURE 


originally  placed  over  a door  in  the  Chancellerie,  Strass- 
burg,  built  1463;  later  they  were  moved  to  the  Museum  of 
the  Library,  and  destroyed  by  fire,  1870. 

Muntz,  Le  Musee  d’ art,  p.  116. 


VEIT  STOSS,  ABOUT  I44O-I533 

2548,  2549  KNEELING  ANGELS,  bearing  candelabra.  In 
the  Frauenkirche,  Nuremberg. 

Rotermundt,  Sale  Catalogue  of  Casts,  No.  36. 

2550  A-G.  THE  SEVEN  JOYS  OF  THE  VIRGIN.  Circular 
reliefs  attached  to  the  frame  of  the  “Annunciation,”  in 
the  choir  of  the  Church  of  St.  Lorenz,  Nuremberg.  Of 
wood.  1518. 

A.  Betrothal  of  the  Virgin. 

B.  Diffusion  of  the  Holy  Spirit. 

C.  Nativity. 

D.  Adoration  of  the  Kings. 

E.  Resurrection  of  Christ. 

F.  Ascension  of  Christ. 

G.  Coronation  of  the  Virgin. 

Daun,  Veit  Stoss,  p.  61. 

2551  THE  “ROSARY.”  Relief  in  the  Germanic  Museum,  Nur- 
emberg. Of  wood.  About  1500. 

In  the  central  portion  a wreath  of  roses  surrounds  God  the 
Father,  the  Madonna,  and  various  Saints.  Below  is  a repre- 
sentation of  the  Last  Judgment.  In  the  border,  beginning 
at  the  lower  right-hand  corner,  the  small  reliefs  represent: 
the  Creation  of  Eve;  Adam  and  Eve  in  the  Garden;  Cain 
slaying  Abel  (should  follow  the  next  scene);  the  Expulsion 
of  Adam  and  Eve  from  the  Garden;  Abraham's  Sacrifice; 
Moses  receiving  the  Laws;  the  Parents  of  the  Virgin;  the 
Presentation  of  the  Virgin  in  the  Temple;  the  Visit  of  the 
Virgin  to  Elizabeth;  the  Nativity;  the  Adoration  of  the 
Kings;  the  Presentation  in  the  Temple;  Christ's  Entry 


GERMAN 


313 

into  Jerusalem;  the  Last  Supper;  Christ  in  the  Garden  of 
Gethsemane;  twelve  Saints  and  Fathers  of  the  Church; 
the  Betrayal  of  Christ;  Pilate  washing  his  Hands;  the 
Scourging  of  Christ;  Christ  mocked;  the  Raising  of 
Lazarus;  Christ  restoring  a Woman  to  life;  the  Resurrec- 
tion; and  the  Ascension  of  Christ. 

Daun,  Veit  Stoss,  pp.  41,  49. 

2552  BETRAYAL  OF  CHRIST.  Relief  in  the  ambulatory  of 
the  Church  of  St.  Sebald,  Nuremberg.  Of  stone.  Dated 
1499. 

Daun,  Veit  Stoss,  p.  38. 

2553  EFFIGY  OF  A SAINT.  In  the  Germanic  Museum,  Nur- 
emberg. About  1490. 

Daun,  Veit  Stoss,  p.  52. 

2554  FORGE  OF  ST.  ELIGIUS.  Relief  formerly  in  Nurem- 
berg. Of  wood. 

Rotermundt,  Sale  Catalogue  of  Casts,  No.  10. 


PETER  VISCHER,  ABOUT  I460-I529 

2555  MONUMENT  OF  ST.  SEBALD,  in  the  Church  of  St. 
Sebald,  Nuremberg.  Of  bronze;  the  sarcophagus  of 
silver.  Made  in  1508-1519,  by  Peter  Vischer  and  his  sons. 
On  the  sides  of  the  base  are  reliefs  of  the  miracles  of  St. 
Sebald,  when  he  turned  the  water  to  wine,  caused  the  earth 
to  swallow  an  unbeliever,  made  icicles  burn,  and  restored 
sight  to  a poor  man.  At  the  front  of  the  base  is  a statuette 
of  St.  Sebald,  and  at  the  back,  Peter  Vischer.  At  the 
corners  are  Nimrod,  Perseus,  Hercules,  and  Samson;  and 
on  the  sides.  Strength,  Moderation,  Prudence,  and  Justice. 
The  statuettes  midway  on  the  columns  are  the  twelve 
Apostles,  and  above  them  are  Old  Testament  Prophets  and 
the  Fathers  of  the  Church.  A small  figure  of  the  Christ 
Child  surmounts  the  whole. 

In  Gallery  38. 

Daun,  P.  Vischer,  pp.  27  ff. 

2556  MONUMENT  OF  JOHANN  CICERO  AND  JOACHIM  I 
of  Brandenburg.  In  the  Cathedral,  Berlin.  Of  bronze. 


3M 


RENAISSANCE  SCULPTURE 


Designed  by  Peter  Vischer,  and  finished  in  1530  by  Hans 
Vischer. 

Daun,  P.  Vischer,  p.  68. 


2557  TOMB  OF  COUNT  HERMANN  VI 1 1,  of  Henneberg,  and 
his  wife,  Elizabeth  of  Brandenburg.  In  the  Stiftskirche, 
Romhild.  Of  bronze.  About  1508. 

Daun,  P.  Vischer,  p.  23. 


2558  KING  ARTHUR  OF  ENGLAND.  One  of  the  statues 
surrounding  the  tomb  of  Emperor  Maximilian,  in  the  Hof- 
kirche,  Innsbruck.  Of  bronze.  Dated  1513. 

Cast  presented  by  Mr.  Augustus  Saint-Gaudens. 

Daun,  P.  Vischer,  p.  47. 

2559  COUNT  OTHO  IV,  of  Henneberg.  Statue  forming  his 
monument,  in  the  Stiftskirche,  Romhild.  Of  bronze. 
Commissioned  1487. 

Daun,  P.  Vischer,  p.  ii. 

2560  CORONATION  OF  THE  VIRGIN.  Relief  in  the  Cathe- 
dral, Erfurt.  Of  bronze.  1521. 

Daun,  P.  Vischer,  p.  52. 


PETER  VISCHER  THE  YOUNGER,  I487-I528 

2561  THE  NUREMBERG  MADONNA.  Statue  in  the  Ger- 
manic Museum,  Nuremberg.  Of  wood;  supposed  to  be 
a model  for  a work  in  bronze.  About  1521.  Attribution 
questioned. 

Daun,  P.  Vischer,  p.  40. 


HANS  VISCHER,  ABOUT  I488-I549 

2562  APOLLO.  Statuette  designed  for  a fountain,  and  now  in 
the  new  court  of  the  Rathaus,  Nuremberg.  Of  bronze. 
Dated  1532. 

Daun,  P.  Vischer,  p.  70. 


GERMAN  315 

BY  AN  UNKNOWN  ARTIST  OF  THE  NUREMBERG  SCHOOL 


2563  PIETA.  Group  of  the  Madonna  with  the  body  of  Christ, 
in  the  St.  Jakobs-Kirche,  Nuremberg.  Of  wood.  Begin- 
ning of  the  sixteenth  century. 

Bode,  Geschichte,  p.  129. 


FLEMISH 

(in  gallery  37) 

TOMMASO  VINCITORE  DA  BOLOGNA,  DIED  ABOUT  I 536 

2580  TOMB  OF  COUNT  ENGELBERT  II  of  Nassau,  and  his 
wife,  Limburg  of  Baden,  in  the  Protestant  Church,  Breda. 
Above  the  effigies  of  the  deceased  is  a platform  bearing 
the  armor  of  the  Count,  and  supported  at  the  corners  by 
kneeling  figures  of  Caesar,  Regulus,  Hannibal,  and  Philip 
of  Macedon.  Base  and  platform  of  black  marble;  the 
figures  of  Italian  alabaster.  Between  1504  and  1536. 

Van  Ysendyck,  Documents  classes,  Ser.  i.  III,  Litt.  T, 
pi.  9. 


JAN  DE  ZAR,  SECOND  HALF  OF  XVI  CENTURY 

2581,  2582  WILIBALD  IMHOFF,  and  his  wife  Anna.  For- 
trait-busts  in  the  Kaiser  Eriedrich  Museum,  Berlin.  Of 
terracotta,  originally  painted. 

Bode  and  Tschudi,  Bildwerke,  Nos.  418,  419. 


BY  AN  UNKNOWN  FLEMISH  ARTIST 

2583  TABLET  OE  THE  TOMB  OF  WILLEM  VAN  GAELLEN. 
In  the  Protestant  Church,  Breda.  Of  brass.  Executed 
after  1539. 


MODERN  SCULPTURE 


The  following-named  casts  are  included  in  the  collection,  but, 
with  the  exception  of  2607,  they  cannot  be  exhibited  for  the 
present,  owing  to  the  lack  of  an  appropriate  room  for  casts  of 
modern  sculpture. 


ANTOINE  LOUIS  BARYE,  I796-1875 

2600  LION  CRUSHING  A SERPENT.  Bronze  group  in  the 
Garden  of  the  Tuileries,  Paris.  1832-1835. 

Cast  presented  by  the  Erench  government. 

De  Kay,  Barye,  pi.  24. 


PAUL  DUBOIS,  1829-1905 

2601  ST.  JOHN  THE  BAPTIST  as  a child.  Statue  in  the  Lux- 
embourg, Paris.  Of  bronze.  1863. 

Benedite,  Les  sculpteurs  jrangais  coniemporains,  pi.  12. 

2602  ELORENTINE  SINGER.  Statue  in  the  Luxembourg, 
Paris.  Of  bronze.  1865. 

Gonse,  La  sculpture  jran^aise,  p.  305. 

2603  LOUIS  PASTEUR.  Portrait-bust. 

2604  THE  DUG  D’AUMALE.  Portrait-bust. 

2605  PAUL  BAUDRY.  Portrait-bust.  1878. 

2606  DR.  J.  PARROT.  Portrait-bust.  1875. 

Casts  2601-2606  presented  by  Mme.  Dubois. 


3i8 


MODERN  SCULPTURE 


AUGUSTE  RODIN,  184O- 

2607  LE  PENSEUR.  Colossal  seated  figure,  designed  to  crown 
the  doorway,  called  the  Gate  of  Hell,  for  the  Musee  des 
Arts  Decoratifs,  Paris.  Now  in  the  Place  du  Pantheon, 
Paris.  Of  bronze.  Soon  after  1880. 

Cast  presented  by  Andre  Saglio,  Commissioner  of  Fine 
Arts  of  the  French  government  at  the  St.  Louis  Exposi- 
tion, 1904. 

In  Gallery  17. 

Mauclair,  Auguste  Rodin,  p.  26. 


INDEX 


INDEX  BY  PLACES 


ARRANGED  ACCORDING  TO  THE  PLACES  IN  WHICH  THE 
ORIGINALS  OF  THE  CASTS  IN  THIS  COLLECTION  ARE  AT 
PRESENT  TO  BE  FOUND.  UNLESS  OTHERWISE  SPECIFIED, 
THE  NUMBERS  GIVEN  REFER  TO  THE  CASTS,  NOT  TO  THE 
PAGES. 


ADEL 

Church  of  St.  John  the  Baptist. 
Capitals,  1541-1543. 

AEGINA 

Museum.  Fragment  of  a grave  re- 
lief with  two  women,  434. 

AIX 

Cathedral  of  St.  Sauveur.  Doors 
of  the  west  facade,  2046. 

Museum.  Statue  of  a Persian,  Hel- 
lenistic period,  789. 

AMIENS 

Cathedral.  Sculptural  details, 
1680-1682;  details  from  the 
choir  stalls,  1683-1687;  effigies 
of  Bishop  Geoffroy  d'Eu,  and 
Archbishop  Evrard  de  Eouilloy, 
1688,  1689. 

AMSTERDAM 

Royal  Palace.  Caryatids  by  Arthur 
Quellin,  2164-2167. 

ANET 

Chateau.  Figures  over  the  en- 
trance by  Goujon,  2047,  2048; 
door  panel  now  in  the  Ecole 
des  Beaux-Arts,  Paris,  2049. 

ANTWERP 

Church  of  St.  Paul.  Panels, 
2 1 68-2 1 70. 


ARLES 

Church  of  St.  Trophime.  iVlodel 
of  the  Porch,  1443;  capitals 
from  the  Cloister,  1444,  1445. 

AROLSEN 

Museum.  Statuettes;  Zeus,  1074; 
Herakles  and  the  lion,  1092; 
Apollo,  1 1 1 5 ; Aphrodite,  bronze, 
1 136-1 138;  a bull,  1 166. 

ATHENS 

Akropolis.  Model,  475. 

Akropolis  Museum.  Statues:  a 
boy,  style  of  Kritios,  450;  torso 
of  Selene,  from  the  Parthenon, 
483;  part  of  the  torso  of  Posei- 
don, from  the  Parthenon,  487; 
torso  of  Ilissos,  from  the  Par- 
thenon, 492. 

Busts;  head  of  Athena,  from  the 
old  temple  of  Athena  on  the 
Akropolis,  438;  a youth,  476. 

Reliefs:  a youth  mounting  a 

chariot,  442;  head  of  Hermes, 
443;  the  mourning  Athena,  463; 
slabs  from  the  Parthenon  frieze, 
530;  Athena  and  a god,  heading 
of  a decree,  535;  Athena,  a wor- 
shipper and  a shield-bearer, 
heading  of  a decree  (?),  536;  a 
sacrifice  to  Athena,  votive  re- 
lief, 537;  fragment,  with  Athena 
crowning  a mortal,  538;  slabs 
from  the  balustrade  of  the 


322 


INDEX  BY  PLACES 


Temple  of  Nike  Apteros,  545- 
551;  Athena  and  “ Kios,”  relief 
over  an  inscription,  77 1 ; Athena, 
the  Demos  of  Athens,  and 
Kerkyra,  heading  of  a decree, 
772;  the  “ Apobates”  relief,  924; 
a Cyclic  chorus  and  a Pyrrhic 
dance,  votive  reliefs,  926,  927; 
votive,  with  a section  of  a tri- 
reme, 930. 

Miscellaneous;  fragment  of  a dra- 
pery from  the  Parthenon  (?), 
501 ; antefix  in  the  form  of  aGor- 
gon’s  head,  1 183. 

Choragic  Monument  of  Lysik- 
RATES.  Full  size  cast,  1237; 
small  model,  1 238;  frieze,  1239. 

Choragic  Monument  of  Thra- 
SYLLOS.  Relief  with  two  half 
wreaths,  1252. 

Dionysiac  Theatre.  Section  of  a 
round  altar,  888;  throne,  1343. 

The  Erechtheion.  Porch  of  the 
Maidens,  1203;  architectural 
details,  1204-1225. 

The  Kerameikos.  Stelae:  of  He- 
geso,  618;  of  Dexileos,  630;  of 
Korallion,  635;  of  Demetria  and 
Pamphile,  636;  of  a woman 
with  an  oinochoe,  640;  monu- 
ment, a Molossian  hound,  644; 
akroterion  of  the  stele  of  Aga- 
thon  and  Sosikrates,  668. 

National  Museum.  Statues;  ar- 
chaic woman  from  Delos,  349; 
Nike  from  Delos,  351;  archaic 
Apollo  (?)  from  Melos,  352; 
draped  female  torso,  archaic, 
437;  sculptures  from  the  Tem- 
ple of  Asklepios  at  Epidauros, 
^3-687;  Hermes  from  Andros, 
707;  fragments  from  the  Temple 
of  Athena  in  Tegea,  716-721; 
youth  crowning  himself,  760; 
warrior  from  Delos,  805 ; Themis 
from  Rhamnus,  810;  Poseidon 
from  Melos,  811;  part  of  a 
statue  of  Asklepios,  815;  Diony- 
sos from  Sikyon,  827;  a youth, 
Roman  period,  938. 

Statuettes:  small  copies  of  Par- 
thenon figures,  found  at  Eleusis, 
509-511;  Varvakeion  Athena, 
531;  Lenormant  Athena,  532. 

Busts:  archaic  female,  from  Delos, 
370;  Apollo  (?),  from  Boeotia, 


397;  a youth,  from  Epidauros, 
398;  archaic  female,  from 
Boeotia,  399;  colossal,  of  Dio- 
nysos, from  Ikaria,  431 ; Apollo, 
found  near  the  Olympieion,  459; 
Hera  (?),  from  Argos,  593;  Eu- 
bouleus  (?),  by  Praxiteles,  693; 
ditto,  copy,  694;  Apollo,  from 
Laurion,  712;  Athena,  765;  fe- 
male, from  Delos,  768;  Hygeia 
(?),  769;  Demeter,  from  Lyko- 
soura,  821;  Artemis,  from  Ly- 
kosoura,  822;  Amytos,  from 
Lykosoura,  823;  Hermarchos, 
898;  a pugilist,  906. 

Reliefs:  archaic  bronze,  from 

Olympia,  390;  Eleusinian  slab. 
577;  a seated  female  figure, 
from  Ikaria,  580;  heads  of 
Athena  (?)  and  an  Amazon, 
metopes  from  Argos,  594,  595; 
Asklepios  on  a throne,  from 
Epidauros,  689;  reliefs  from 
Mantineia,  705;  relief  in  imita- 
tion of  oriental  style,  773;  with 
dancing  girls,  881,  882;  nine 
winged  figures  with  candelabra, 
etc.,  885;  votive,  to  Asklepios, 
911;  of  Pan,  Hermes,  and  the 
Nymphs,  913;  of  Apollo,  Arte- 
mis, and  a worshipper,  914;  of 
Apollo  and  two  muses,  915;  of 
a muse  (?)  leaning  on  a pillar, 
916;  of  Herakles  and  the  muses, 
917;  with  fourfigures,  922;  with 
surgical  instruments,  931;  frag- 
ment of  a vase-shaped  object, 
932- 

Grave  monuments:  from  Orcho- 
menos,  by  Alxenor,  384;  of 
Aristion,  435;  of  a warrior,  from 
Ikaria,  436;  fragment  with  a 
youth  carrying  a disk,  439;  of  a 
young  horseman.  440;  of  Veke- 
damos,  613;  of  Polyxene,  614; 
of  a youth  with  a hare  and  an 
apple,  616;  of  a man  with  a staff, 
619;  of  Agathokles,  620;  of  a 
woman  standing,  62 1 ; of  a youth 
with  his  slave,  622;  of  Am- 
hotto,  625;  an  akroterion  from 
rachones,  63  i ; stele  of  Arches- 
trate,  632;  of  Ameinokleia,  634; 
.of  a young  hunter,  637;  of  Phi- 
lino,  638;  from  the  Kerameikos, 
639;  grave  relief  called  the 


INDEX  BY  PLACES 


“Death  of  Sokrates,”  645;  stele 
with  a sepulchral  banquet,  647; 
of  Aristogeiton,  648;  gravestone 
in  the  form  of  a lekythos,  649; 
stele  of  Kallias,  653;  shoulder 
of  an  amphora,  from  a grave, 
660;  akroterion  from  the  stele  of 
those  who  fell  in  the  Corinthian 
war,  662;  akroterion  of  the  stele 
of  Onesicha,  665;  ditto,  of  Nike, 
667;  part  of  the  stele  of  Deinias 
and  Philokrates,  669;  of  Mnes- 
istrate,  670;  of  Theophile,  673; 
of  Epikrates,  674;  of  Erine,  675; 
of  Mikines,  676;  of  Philippos, 
677;  two  goats  butting,  from  a 
stele  (?),  ^8;  stele  with  a crown 
of  ivy,  with  inscription,  880. 

Miscellaneous:  a hand  holding  a 
kantharos,  from  Ikaria,  432; 
akroterion,  Nike,  from  Epi- 
dauros,  688;  fragment  of  dra- 
pery from  Lykosoura,  824;  cor- 
nice from  an  altar,  1184;  akro- 
terion from  Sunion,  1195; 
tion  of  the  cyma  moulding  from 
the  Heraion,  1230;  small  pillar 
with  a siren,  1342;  Roman  table- 
leg  from  the  Dipylon,  1349. 

Old  Cathedral.  Reliefs  represent- 
ing the  Athenian  calendar,  887; 
Roman  relief  with  wreaths  and 
fillets,  959;  part  of  a Roman 
Doric  frieze,  1304. 

Parthenon.  Model,  476;  metopes, 
512,  529;  west  frieze,  530;  archi- 
tectural details,  1196-1202. 

Temple  OF  Nike  Apteros.  Half  of 
an  Ionic  capital,  1228. 

Theseion.  Metopes,  541,  542. 

Miscellaneous.  Lam.p  in  the  form 
of  a ship,  1171;  half  of  an  Attic- 
Ionic  capital,  1180;  half  of  an 
Ionic  capital  found  in  the 
Erechtheion,  1256;  moulding, 
late  Greek,  1262;  fragment  of  a 
frieze,  with  palmettes  and  lotos 
flowers,  1265;  terracotta  antefix 
with  the  head  of  Athena,  1382. 

AUTUN 

Cathedral  OF  St.  Lazare.  Capital, 
1446. 

BAMBERG 

Cathedral.  Capitals,  1473-1478. 


323 

BANBURY 

Reindeer  Inn.  Portion  of  a ceiling, 
2180. 

BARFRESTON 

Church.  South  doorway,  i 544. 

BAYONNE 

Cathedral.  Knocker,  1690. 

BEAUVAIS 

Cathedral.  Panels  of  the  south 
door,  2050,  2051. 

BERLIN 

Cathedral.  Tomb  of  Johann 
Cicero,  by  Peter  and  Hans 
Vischer,  2556. 

Ethnographical  Museum.  Met- 
ope from  Troy,  872. 

Kaiser  Eriedrich  Museum. 

Statue:  of  the  young  St.  John, 
by  Michelangelo,  2319. 

Busts:  Marietta  Strozzi,  by  Desi- 
derio,  2267;  a princess  of  Ur- 
bino,  by  Desiderio,  2268;  Lodo- 
vico  III  Gonzaga,  by  Dona- 
tello, 2294;  a Neapolitan  prin- 
cess, by  Laurana,  2313;  Niccolo 
Strozzi,  by  Mino  da  Fiesole,234o; 
a young  Florentine  woman,  by 
Mino  da  Fiesole,  2343;  an  un- 
known man,  by  A.  Rossellino, 
2383;  Teodorina  Cibo,  by  Ro- 
mano, 2418;  Pope  Gregory 
XIII,  Roman  school,  2424; 
Pietro  Zeno,  by  Vittoria,  2431; 
Wilibald  and  Anna  Imhoff,  by 
Jan  de  Zar,  2581,  2582. 

Reliefs:  Faith,  by  Mino  da  Fiesole, 
2348;  Madonna  and  Child,  by 
Mino  da  Fiesole,  2351;  Cosimo 
de’  Medici  the  elder,  by  Ver- 
rocchio, 2404;  Beatrice  of  Ara- 
gon, by  Verrocchio,  2405;  the 
Entombment  of  Christ,  by  Ver- 
rocchio, 2407;  tabernacle,  by 
Bregno,  2421;  St.  John  the 
Evangelist  and  his  school,  by 
Bellano,  2426;  Madonna  and 
Child  and  Saints,  by  J.  San- 
sovino, 2430;  angels  with  sym- 
bols of  the  Passion,  2433;  Ma- 
donna and  Child  and  donors, 
Venetian  school,  2435; 


INDEX  BY  PLACES 


Father  blessing,  Venetian  school, 
2436. 

Royal  Museum.  Statues:  a 
wounded  Amazon,  589;  bronze, 
of  a boy,  602;  the  praying  boy, 
so  called,  735;  dancing  maenad, 
828;  torso  01  Marsyas,  834. 

Statuettes;  Apollo,  archaic,  1078, 
1079;  Hermes  Kriophoros,  1081- 
1083;  Athena,  1084;  archaic 
Etruscan  goddess,  1089;  winged 
figure  from  an  Etruscan  chariot, 
1090;  a warrior,  1098;  a kane- 
phoros  (basket-bearer),  1101; 
Hermes  resting,  1123;  Aphro- 
dite adorning  herself,  1127;  in- 
fant Herakles  with  a serpent, 
1 146;  satyr,  1150,  1 1 5 1 ; a young 
athlete,  1 158;  seated  dog,  from 
Asia  Minor,  1 165. 

Busts:  head  of  an  Egyptian  por- 
trait-statuette, 23;  an  Egyptian 
priest,  46;  a youth  (or  Aphro- 
dite ?)  from  Kythera,  400;  a 
bearded  man,  from  Athens  or 
Aegina,  441 ; female  head  resem- 
bling the  Venus  Genetrix,  569; 
Plato,  779;  female  head  from 
Pergamon,  80^;  a youth,  from 
Tarentum,  860;  female,  third 
century,  861 ; ditto,  second  cen- 
tury, 862;  double  bust  of  Sok- 
rates  and  Seneca,  973;  a youth, 
Roman,  990. 

Reliefs:  birth  of  Erichthonios, 
archaic,  444;  the  hunt  of  the 
Kalydonian  boar,  from  Melos, 
466;  Athena  with  a Nike,  from 
Athens,  539;  reliefs  from  the 
Pergamon  altar,  803;  votive,  to 
Zeus  Meilichios,  908;  to  Zeus 
Hypseistos,  909;  of  Eutychia, 
910;  to  Kybele,  918;  to  the 
nymphs  and  all  the  gods,  920; 
votive,  with  a man  and  a boy 
adoring  a serpent,  923;  of  the 
victor  in  a chariot  race,  925; 
Nike  pouring  a libation  to 
Apollo,  996. 

Grave  monuments:  Chaldaean,  of 
KingSargon,  108;  archaic,  from 
Chrysapha,  403 ; head  of  a youth 
from  a stele,  615;  a bearded 
man,  oart  of  a stele  from  Kary- 
stos,  023;  of  Mynno,  624;  of  a 
girl  with  a casket,  from  Venice, 


629;  fragment  of  a stele  from 
Eretria,  64 1 ; stele  with  a mourn- 
ing handmaid,  643. 

Miscellaneous:  vase,  Augustan 

period,  1169;  gold  bracelet  in 
the  form  of  a serpent,  1170; 
cinerary  urn,  Etruscan,  1175; 
ditto,  Italic,  1 176;  scroll  decora- 
tion from  the  monastery  of 
Syriani,  1261 ; section  of  a terra- 
cotta cornice,  1375;  terracotta 
antefix  with  a female  head,  1380. 

In  Private  Possession.  Head  of 
the  Knidian  Aphrodite,  699; 
statuette  of  Aphrodite,  1128; 
small  head  of  Aphrodite,  1140. 

BIRKIN 

Church.  Details,  1545-1547. 

BLOIS 

Church  of  St.  Laumer.  Capital, 
1691. 

BOLOGNA 

Church  of  San  Domenico.  Capi- 
tals from  the  tomb  of  Taddeo 
Pepoli,  1800  A-C;  details  from 
the  Tartagni  monument,  by 
Ferrucci,  2304  A-C, 

Church  of  San  Petronio.  Sculp- 
tures from  the  doorway,  by 
Jacopo  della  Quercia,  2358  A-E. 

Museo  Civico.  Head  of  the  “ Lem- 
nian”  Athena,  565. 

BORDEAUX 

Cathedral.  Pier  from  the  north 
door,  1692. 

BOSTON 

Museum  of  Fine  Arts.  Sculp- 
tures from  Assos,  362,  369; 
akroterion  of  a stele,  663;  ideal 
female  head,  690. 

BOURGES 

Cathedral.  Lintel,  1693. 

BREDA 

Protestant  Church.  Monument 
of  Count  Borgnival,  2171;  detail 
from  the  monument  of  Dirck 
van  Assendelflft,  2172;  tomb  of 
Engelbert  H of  Nassau,  2580; 


INDEX  BY  PLACES 


tomb  tablet  of  Willem  van 
Gaellen,  Flemish  school,  2583. 

BREMEN 

Rathaus.  Detail  of  a staircase, 
2119. 

BRESCIA 

Museo  Civico.  Panel  from  the 
tomb  of  Marcantonio  Martin- 
engo,  2001. 

Museo  Patrio.  Nike  of  Brescia, 

747* 

BRIVES 

Church  of  St.  Martin.  Capital, 
1447. 

BRUGES 

Church  OF  Notre-Dame.  Madonna 
and  Child,  by  Michelangelo, 
2323. 

BRUNSWICK 

Museum.  The  Mantuan  vase, 
Roman,  1 167. 

CADENABBIA 

Villa  Carlotta.  Group  of  Cupid 
and  Psyche,  by  Canova,  2438. 

CAEN 

Church  of  Notre-Dame.  Detail, 
1694. 

Church  of  St.  Pierre.  Capital, 
1695;  panel  in  a chapel,  2052. 

CAIRO 

Museum.  Panels  from  the  tomb  of 
Hesy  at  Sakkara,  i,  2,3;  statue 
called  the  Sheik  el-Beled,  found 
at  Sakkara,  4;  side  of  the  sar- 
cophagus of  Khufu-Ankh,  5; 
statue  of  King  Khafra,  found  in 
the  Temple  of  the  Sphinx,  6; 
head  from  a portrait  statue  of 
an  official,  v-vi  dynasty,  20;  of- 
fering-stela of  Antef,  found  at 
Abydos,  21;  portrait  of  the 
Queen  of  Punt,  from  the  temple 
at  Der  el-Bahari,  26;  head  of  a 
Queen  of  the  xviii  dynasty, 
found  at  Karnak,  32;  statue  of 
Queen  Amenertais,  found  at 
Karnak,  42;  head  from  a 
statue  of  Taharka,  found  at 
Luxor,  43;  statuette  of  a kneel- 
ing figure  holding  a shrine; 


325 

found  at  Mit  Rahineh,  44; 
Hathor,  in  the  form  of  a cow, 
protecting  Psamtik,  from  his 
tomb  at  Sakkara,  48;  seated 
statuette  of  Osiris,  from  the 
same,  49;  seated  statuette  of 
Isis,  from  the  same,  50;  stela 
representing  the  god  Homs 
overcoming  the  powers  of  evil, 
found  at  Alexandria,  51;  stela 
inscribed  with  the  Decree  of 
Canopus,  found  at  Tanis,  52, 

House  of  Sheik  el-Sadat.  Panels, 
1618-1620. 

Mosque  of  Ibn  TulOn.  Panel, 
1621. 

Mosque  of  Kait-Bey.  Details, 
1622-1632. 

Mosque  of  Medan  ez-Zahir.  De- 
tails, 1633,  1634. 

Mosque  of  Melbas  el-Hayat. 
Brackets,  1635,  1636. 

Mosque  of  Sheik  el-Giouchi. 
Half-spandrel,  1637. 

Mosque  of  Sheik  Metouali.  De- 
tails, 1638,  1639. 

Mosque  of  Sultan  BarkOk.  De- 
tails, 1640-1644. 

Mosque  of  Sultan  Hasan.  De- 
tails, 1645-1648. 

Okella  Azhar.  Details,  1649- 
1651. 

Okella  Kait  Bey.  Details,  1652 
A,  B. 

Miscellaneous.  Saracenic  details, 
1653-1663. 

CANDIA 

Museum.  From  the  Palace  of 
Knossos:  relief  of  a male  figure 
with  a fleur-de-lis  crown,  25 1 ; 
fragments  of  reliefs  of  men,  252, 
253;  fresco  of  a scene  from  the 
Palace  Circus,  256;  cult  objects 
and  ornaments  in  faience,  257- 
278;  head  of  a bull  in  relief,  279; 
head  of  a lioness,  280;  amphora, 
282;  alabaster  vase,  283;  friezes, 
284,  285;  lamp,  286;  weight  of 
gypsum,  288;  Triton  shell,  289; 
marble  vase,  290;  marble  rhyta 
or  fillers,  291-294;  tablets  with 
inscriptions,  29^  297. 

Harvesters’  vase  from  the 
Palace  of  Hagia  Triada,  254; 
fragment  of  a pyxis,  255;  small 


INDEX  BY  PLACES 


326 

column,  from  the  northeast 
house  at  Knossos,  287;  steatite 
libation-table,  from  the  Dik- 
taean  Cave,  Crete,  295. 

CANTERBURY 

Cathedral.  Detail  of  ornament, 
1872. 

CASSEL 

Museum.  Etruscan  statuette  of 
Athena,  1085;  archaic  statu- 
ette of  Herakles,  1091 ; statuette 
of  an  athlete,  1095;  head  of 
Serapis,  1111. 

CHALONS-SUR-MARNE 

Church  of  Notre-Dame.  Capital, 

1448. 

CHANTILLY 

Chateau.  Reliefs  of  the  Evange- 
lists from  Ecouen,  by  Goujon, 
2487  A-D. 

CHARTRES 

Cathedral  of  Notre-Dame. 
Sculptural  details,  1696-1700; 
architectural  details,  1701-1704; 
pilasters  from  the  ambulatory 
wall,  1705-1709. 

CHESTER 

Cathedral.  Details,  1873,  1874. 
Stanley  House.  Details,  2181- 
2184. 

CHRISTIANIA 

Historical  Museum.  Scandina- 
vian wood  carvings  from 
churches,  1591-1595. 

CLERMONT-FERRAND 

Church  of  Notre-Dame-du-Port. 
Doorway  of  the  south  transept, 

1449. 

COIMBRA 

Church  of  Santa  Cruz.  Pulpit  by 
Jean  de  Rouen,  2490. 

COLOGNE 

Museum.  Panels  of  Gothic  wood 
carving,  1835-1837. 

CONSTANTINOPLE 

Imperial  Museum.  Greek  sarcoph- 
agus from  Sidon,  654;  Hermaph- 


rodite from  Pergamon,  804; 
inscription  from  a stele  from  the 
Temple  of  Herod  at  Jerusalem, 

1394- 

COPENHAGEN 

Museum  of  Northern  Antiquities. 
Wood  carvings  from  Iceland, 

1 600- 1 608. 

Ny-Carlsberg  Glyptothek.  Stat- 
ue of  a poet,  891. 

CORBEIL 

Church  of  Notre-Dame.  Corbels, 

1450,  145 '• 

CORDOVA 

Mosque.  Panels,  1664,  1665. 

CREMONA 

Cathedral.  Reliefs  of  martyrs  by 
Amadeo,  2412. 

Municipio.  Detail  from  a chimney- 
piece,  by  Pedone,  2002. 

Palazzo  Trecchi.  Capitals,  2003- 
2006. 

DELPHI 

Museum.  The  charioteer  of  Delphi, 
462. 

DIDYMA 

Temple  of  Apollo.  Architectural 
fragments,  1240-1245. 

DIJON 

Church  of  St.  Michel.  Pedestal 
in  the  central  doorway,  2053. 
Museum.  Mourners  from  the  tomb 
of  Philippe  le  Hardi,  2501  A-L. 

DONZY 

Church  of  Notre-Dame-du-Pre. 
Capital,  1452. 

DORDRECHT 

Groote  Kerk.  Panels  from  the 
choir  stalls,  2173  A-L. 

DORPAT 

Von  Li  PH  ARDT  Collection.  Relief 
of  St.  Jerome  at  prayer,  by  De- 
siderio,  2277. 

DORTMUND 

In  Private  Possession.  Statuette 
of  a boy  sleeping,  1163. 


INDEX  BY  PLACES 


327 


DOVER 

Museum.  Balusters  from  Dover 
Castle,  1537,  >538- 

DRESDEN 

Albertinum.  Head  of  an  athlete, 
from  Perinthos,  Thrace,  452; 
athlete  pouring  oil  into  his  hand, 
564;  Lemnian  Athena,  565; 
Asklepios  or  Zeus,  from  Antiurn, 
581;  an  Amazon  from  Salamis, 
582;  Chigi  head  of  the  Diadu- 
menos,  588;  athlete,  Polyklei- 
tan  style,  598;  satyr,  statue, 
710;  statue  of  a matron,  754; 
Athena  Promachos,  archaistic 
statue,  991 ; pedestal  of  a tripod 
or  candelabrum,  995’  square 
altar  from  the  Chigi  collection, 
1009;  primitive  female  statu- 
ettes, 1070-1072. 

DURHAM 

Cathedral.  Knocker,  1548. 

ECOUEN 

Chateau.  Architectural  details, 
2054-2058. 

ELEUSIS 

Temple  of  Demeter.  Colossal 
capital  from  the  Propylaia, 
1280;  part  of  an  anta  capital, 
from  the  Propylaia,  1281. 

ELY 

Cathedral.  Details,  1875,  1876. 

ENKHUIZEN 

Westerkerk.  Part  of  the  choir 
screen  and  details,  2174  A-V. 

ERFURT 

Cathedral.  Relief  of  the  Corona- 
tion of  the  Virgin,  by  Peter 
Vischer,  2560. 

^VREUX 

Cathedral  of  Notre-Dame. 
Screen  in  a chapel,  2059. 

faenza 

PiNACOTECA.  Bust  of  St.  John  the 
Baptist  as  a boy,  by  A.  Rossel- 
lino,  2392. 


FIESOLE 

Cathedral.  Salutati  monument, 
by  Mino  da  Fiesole,  2338;  altar 
piece,  by  Mino  da  Fiesole,  2347. 

FLORENCE 

Accademia  delle  Belle  Arti. 
Head  from  the  colossal  statue 
of  David,  by  Michelangelo,233o; 
relief  of  the  Madonna  adoring 
the  Child,  by  Andrea  della  Rob- 
bia, 2365. 

Baptistery.  East  doors  by  Ghi- 
berti, 2306;  frame  and  details  of 
the  north  door,  2307  A-1. 

Bargello.  Statues:  St.  John  the 
Baptist  as  a child,  by  Benedetto 
da  Maiano,  2243;  St.  George,  by 
Donatello,  2283;  David,  by  Don- 
atello, 2286;  St.  John  the  Bap- 
tist, by  Donatello,  2287;  Cupid, 
by  Donatello,  2288;  Bacchus, 
by  Michelangelo,  2320;  David 
(or  Apollo),  by  Michelangelo, 
2325;  the  wounded  Adonis,  by 
Michelangelo  (?),  2328;  St.  John 
the  Baptist  as  a child,  by  A. 
Rossellino,  2381;  David,  by 
Verrocchio,  2399;  Mercury,  by 
Giovanni  da  Bologna,  2422; 
Bacchus  and  a faun,  by  J.  San- 
sovino, 2429. 

Busts:  Pietro  Mellini,  by  Bene- 
detto da  Maiano,  2244;  Filippo 
Strozzi,  by  Benedetto  da  Mai- 
ano, 2245;  a young  woman,  by 
Desiderio,  2269;  a young  boy, 
by  Desiderio,  2270;  the  young 
Gattamelata,  so  called,  by  Don- 
atello, 2292;  Niccolo  da  Uzzano, 
by  Donatello,  2293;  Brutus,  by 
Michelangelo,  2331;  Giovanni 
de'  Medici,  by  Mino  da  Fiesole, 
2339;  Piero  de’  Medici,  by  Mino 
da  Fiesole,  2341;  Rinaldo  della 
Luna,  by  Mino  da  Fiesole,  2342; 
a young  warrior,  by  A.  Pollaiu- 
olo, 2354;  Matteo  Palmieri,  by 
A.  Rossellino.  2382;  Francesco 
Sassetti,  by  A.  Rossellino,  2391  ; 
a young  woman  with  a flower, 
by  Verrocchio,  2402;  Piero  di 
Lorenzo  de’  Medici  (?),  by  Ver- 
rocchio, 2403;  Niccolo  Macchia- 
velli,  Florentine  school,  2411. 


INDEX  BY  PLACES 


328 


Reliefs:  the  Crucifixion,  by  Ber- 
toldodi  Giovanni,  2250;  Lamen- 
tation, by  the  same,  2251; 
Abraham’s  sacrifice,  by  Brunel- 
leschi, 2252;  armsof  theSpinelli, 
by  the  same,  2253;  Perseus  and 
Andromeda,  by  Cellini,  2255;  a 
lady  of  Lucca,  by  Civitali,  2259; 
Faith,  by  Civitali,  2262;  small 
bronze  door,  by  Vincenzo  Danti, 
2265;  an  unknown  man,  by  De- 
siderio,  2274;  the  Crucifixion,  by 
Donatello,  2299;  Abraham's 
sacrifice,  by  Ghiberti,  2309; 
Madonna  and  Child  and  St. 
John,  by  Michelangelo,  2333; 
satyr-mask,  by  Michelangelo, 
2335;  Madonna  and  Child  (cir- 
cular), by  Mino  da  Fiesole,  2349; 
ditto  (rectangular),  by  Mino  da 
Fiesole,  2350;  the  Madonna  of 
the  Architects,  by  Andrea  della 
Robbia,  2364;  Madonna  and 
Child,  circular  relief,  by  Andrea 
della  Robbia,  2368;  bust  of  a 
young  woman,  by  Luca  della 
Robbia,  2375;  Madonna  and 
Child,  by  A.  Rossellino,  2387; 
the  Worship  of  the  Shepherds, 
by  A.  Rossellino,  2390;  Ma- 
donna and  Child,  by  Verrocchio, 
2406. 

Miscellaneous:  niche  from  the 

Palazzo-  Cepparello,  by  Bene- 
detto da  Rovezzano,  2013; 
bronze  model  of  Perseus,  by  Cel- 
lini, 2256;  model  of  Hercules 
and  Antaeus,  by  Antonio  Polla- 
iuolo, 2353;  effigy  of  Mariano 
Sozzino,  by  Vecchietta,  2397. 

Campanile.  Panel  called  Agricul- 
ture by  Andrea  Pisano,  1801; 
head  of  Jeremiah,  by  Dona- 
tello, 2290;  head  of  St.  John  the 
Baptist,  by  Donatello,  2291  ; 
Tubal  Cain,  relief  by  Luca  della 
Robbia,  2377. 

Casa  Buonarroti.  Relief  of  the 
Battle  of  the  Lapiths  and  Cen- 
taurs, by  Michelangelo,  2332. 

Casa  Ricasoli.  Madonna  adoring 
the  Child,  by  a pupil  of  Andrea 
della  Robbia,  2370. 

Cathedral.  Details  from  the  Porta 
della  Mandorla  by  Niccolo 
d’ Arezzo,  2007  A-G;  head  of  a 


prophet,  called  Poggio  Braccio- 
lini,  by  Donatello,  2289;  reliefs 
from  the  reliquary  of  St.  Zeno- 
bius, by  Ghiberti,  2308  A-D; 
Pieta,  or  Deposition,  by  Michel- 
angelo, 2327;  heads  of  the  Ma- 
donna and  three  angels,  by 
Nanni  di  Banco,  2352  A-D; 
doors  of  the  New  Sacristy  by 
Luca  della  Robbia,  2372;  relief 
of  the  Resurrection,  by  Luca 
della  Robbia,  2376. 

Church  of  the  Annunziata.  Re- 
liefs of  scenes  from  the  Passion, 
by  Giovanni  da  Bologna,  2423 
A,  B. 

Church  of  the  Ognissanti.  Coro- 
nation of  the  Virgin,  by  the  della 
Robbia  school,  2379. 

Church  of  Or  San  Michele.  Re- 
lief of  the  Death  and  Assump- 
tion of  the  Virgin,  and  details 
of  the  frame  of  the  tabernacle 
by  Orcagna,  1802  A-F. 

Church  of  San  Francesco  dei 
Vanchetoni.  Bust  of  St.  John 
the  Baptist,  by  A.  Rossellino, 
2384;  bust  of  the  Christ  Child, 
by  A.  Rossellino  (?),  2394. 

Church  of  San  Lorenzo.  Christ 
Child,  from  the  Altar  by  Desi- 
derio,  2279;  bust  of  St.  Lorenzo, 
by  Donatello,  2295;  Medici 
tombs,  by  Michelangelo,  2314, 
2315  A,  B;  Madonna  and  Child, 
by  Michelangelo,  2326;  candel- 
abrum, by  Michelangelo,  2334. 

Church  of  San  Miniato.  Monu- 
ment of  Cardinal  Jacopo  of 
Portugal,  by  A.  Rossellino, 
2380. 

Church  of  Santa  Croce.  Details 
from  the  frame  of  Donatello’s 
Annunciation,  2010  A,  B;  pulpit 
by  Benedetto  da  Maiano,  2241; 
Marsuppini  monument,  by  De- 
siderio,  2266;  tabernacle  by 
Mino  da  Fiesole,  2345;  the  Ma- 
donna del  Latte,  by  A.  Rossel- 
lino, 2388;  head  from  the  effigy 
of  Leonardo  Bruni,  by  B.  Ros- 
sellino, 2396. 

Church  of  Santa  Maria  Novella. 
Relief  of  the  Madonna  and 
Child,  by  Benedetto  da  Maiano, 
2246. 


INDEX  BY  PLACES 


Church  of  the  Santa  Trinita. 
Details  from  an  altar  by  Bene- 
detto da  Rovezzano,  2011  A,  B; 
tomb  of  Benozzo  Federighi,  by 
Luca  della  Robbia,  2373. 

Church  of  the  Santi  Apostoli. 
Detail  of  the  sarcophagus  of 
Oddo  Altoviti,  by  Benedetto  da 
Rovezzano,  2249. 

Church  of  the  Santo  Spirito.  Cap- 
itals from  the  Sacristy,  2008, 
2009. 

Hospital  OF  THE  Innocents.  Sculp- 
tures by  Andrea  della  Robbia: 
the  Annunciation,  2359;  four  in- 
fants, 2360-2363. 

Loggia  dei  Lanzi.  Judith  and  Hol- 
ofernes  by  Donatello,  2284. 

Loggia  di  San  Paolo.  Meeting  of 
St.  Francis  and  St.  Dominic,  by 
Andrea  della  Robbia,  2367. 

The  Misericordia.  Madonna  and 
Child,  by  Benedetto  da  Maiano, 
2242. 

Museo  Archeologico.  The  Ido- 
lino,  596;  female  head,  with 
akanthos  leaves,  863;  head  of  a 
bronze  horse,  1001;  Etruscan 
warrior,  archaic  statuette,  1097; 
detail  of  the  Renaissance  pedes- 
tal of  “the  Idolino,”  2012. 

Opera  DEL  Duomo.  Bust  of  Brunel- 
leschi by  Buggiano,  2254;  re- 
liefs from  the  Singing  Gallery 
by  Donatello,  2297  A-C ; the 
Singing  Gallery  by  Luca  della 
Robbia,  2371. 

Palazzo  Gianfigliazzi.  Shield  of 
the  family,  by  Desiderio,  2280. 

Palazzo  Panciatichi.  Madonna 
and  Child,  relief  by  Desiderio, 
2275. 

Palazzo  Vecchio.  Doorway  by 
Benedetto  da  Maiano,  2014;  boy 
with  a fish,  by  Verrocchio,  2400. 

Uffizi.  The  Apollino,  711;  Niobe 
and  her  youngest  daughter,  726; 
a Niobid,  727;  head  of  a giant, 
called  “the  dying  Alexander,” 
806;  satyr  playing  the  scabel- 
lum,  832;  the  so-called  “Arro- 
tino,”  833;  two  wrestlers,  845; 
relief  with  a Dionysiac  scene, 
877;  bust  of  an  unknown  man, 
called  Seneca,  907;  reliefs  from 
the  Medici  vase,  1004. 


329 

Via  della  Scala.  Madonna  and 
Child  and  Saints,  by  Andrea 
della  Robbia,  2369. 

Via  della  Spada.  Madonna  and 
Child,  by  Antonio  Rossellino, 
2389. 

Miscellaneous.  Statuette  of  Aph- 
rodite girding  herself,  1139. 

FONTAINEBLEAU 

Palace.  Dado  panel  from  the  Gal- 
lery of  Francis  1,  2060;  relief  of 
Diana,  by  Goujon,  2488. 

FORLI 

Church  of  San  Biagio.  Head 
from  the  effigy  of  Barbara  Man- 
fredi,  by  Ferrucci,  2305. 

FREIBERG 

Cathedral.  Tympanum  of  the 
“Golden  Portal,”  1479. 

FREISING 

Cathedral.  Column,  sculptured, 
1480;  capital,  1481. 

GELNHAUSEN 

Pfarrkirche.  Details,  1482-1492. 

Miscellaneous.  Romanesque  de- 
tails, 1493-1495. 

GENOA 

Albergo  DEI  Poveri.  Relief  of  the 
Madonna  and  the  dead  Christ, 
by  a pupil  of  Michelangelo, 
2337- 

GHENT 

Corbels,  1859,  i860. 

GORTYNA 

Law  code  of  Gortyna,  446. 

GRANADA 

Palace  OF  THE  Alhambra.  Details, 
1 666- 1 670. 

GREAT  MALVERN 

Priory  Church.  Corbel,  1877. 

HAARLEM 

Church  of  St.  Bavo.  Panels  from 
the  choir  screen,  1861,  1862. 


330 


INDEX  BY  PLACES 


THE  HAGUE 

Town  Hall.  Consoles  from  the 
fajade,  2175-2178. 

HILDESHEIM 

Butchers’  Guild  House.  Model 
of  the  facade,  2120;  details  from 
the  fafade,  2121-2123. 

Cathedral.  Reliquary,  1496;  the 
“Easter  column,”  1497. 

Church  of  St.  Michael.  Base  and 
two  capitals,  1498-1500;  parts 
of  the  choir  screen,  1501,  1502. 

House  on  the  Hoherweg,  No.  427. 
Panels,  2124  A,  B. 

Timber  Houses.  Details,  2125, 
2126. 

HOLME 

Detail  of  ornament,  1878. 

INNSBRUCK 

Hofkirche.  Statue  of  King  Arthur 
of  England,  by  Peter  Vischer, 
2558. 

JEVER 

Palace.  Ceiling  panel,  2127;  friezes 
from  the  monument  of  Edo 
Weimken,  2128  A,  B. 

KARNAK 

Temple.  Relief  of  Seti  I at  war 
with  the  Bedouins  at  Canaan, 
34;  model  of  the  Great  Hypo- 
style  Hall,  54. 

KIDRICH 

Panels,  1863,  1864. 

KNOSSOS 

Palace.  Throne  in  the  council 
room,  281. 

LAON 

Cathedral  of  Notre-Dame.  De- 
tails, 1710-1720. 

Church  of  St.  Martin.  Effigy  of 
the  Abbess  Jeanne  de  Flandre, 
1721. 

LEWES 

Southover  Church.  Slab  from  the 
tomb  of  Gundrada,  i 549. 

LEYDEN 

Museum.  Stele  of  Archestrate,  633. 


LIMOGES 

Cathedral  of  St.  Etienne.  Half 
of  the  rood  screen  and  details, 
2061  A-D. 

LINCOLN 

Cathedral.  Spandrels  from  the 
“Angel  Choir,”  1882;  details, 
1883-1888. 

LISBON 

Collection  of  the  Due  de  Loule. 
Relief  of  a quadriga,  944. 

llandaff 

Cathedral.  Details,  1879-1881. 

LOCCUM 

Monastic  Church.  Details  of  the 
choir  stalls,  1503,  1504. 

LONDON 

British  Museum.  Statues:  Amen- 
hetep  III,  found  at  Thebes,  29; 
squatting  statue  of  Ken-nekht, 
33;  colossal,  of  Rameses  II, 
from  the  Ramesseum,  Thebes, 
36;  Rameses  II,  from  Elephan- 
tine, 37;  seated,  of  Seti  II,  with 
emblem  of  Khnum,  from  Kar- 
nak,  39;  Chares,  archaic,  from 
Branchidae,  353;  seated  female 
figure,  archaic,  from  Branchidae, 
354;  archaic  Apollo  (?)  from 
Boeotia  (?),  395;  the  Strangford 
Apollo,  429;  Choiseul-Gouffier 
Apollo,  460;  Parthenon  sculp- 
tures, 477-491,  494-500,  502- 
507;  Nereids  from  the  Nereid 
monument,  554-557;  Roman 
copy  of  Myron’s  Diskobolos, 
560;  Diadumenos,  after  Poly- 
kleitos,  586;  ditto,  from  the 
Farnese  Collection,  587;  Pan, 
Polykleitan  style,  597;  Nike 
sacrificing  a bull,  612;  Aphro- 
dite of  Ostia,  696;Mausolos,  739; 
Demeter  from  Knidos,  749; 
Apollo,  bronze,756;  a boy,  head- 
less, 759;  torso  of  Aphrodite, 
819;  Herakles  with  the  apples 
of  the  Hesperides,  840;  Aktaion 
attacked  by  his  hounds,  844; 
boy,  from  a group  of  two  quar- 
reling, 847;  girl  playing  huckle- 


INDEX  BY  PLACES 


bones,  848;  a Karyatid,  Roman 
period,  940. 

Statuettes:  Amenemhat,  22;  a 
woman,  from  the  Polledrara 
tomb,  Vulci,  445;  Apollo,  ar- 
chaic, 1080;  Poseidon  (?),  1 1 10; 
Apollo  stringing  his  bow,  1114; 
Apollo,  1 1 10;  Hermes,  Lysip- 
piantype,  1124;  Nike  or  Aphro- 
dite, 1125;  Dione  or  Aphrodite, 
1126;  Aphrodite,  1129;  Aphro- 
dite unfastening  her  left  sandal, 
1132;  Herakles,  1141;  one  of  the 
Dioskouroi,  1147;  satyr  starting 
back,  1 152. 

Busts:  head  of  a colossal  statue, 
Egyptian,  24;  beardless  male, 
archaic,  from  Branchidae,  355; 
archaic,  of  the  “Apollo”  type, 
433;  head  like  the  Choiseul- 
Goutfier  Apollo,  from  Kyrene, 
461;  Perikles,  574;  a wounded 
Amazon,  591;  Hera  (?),  from 
Girgenti  (?),  604;  Apollo,  713; 
colossal  female,  from  Priene, 
724;  Zeus  or  Asklepios,  762; 
Hypnos,  763;  female,  from 
Knidos,  766;  Sophokles  (?),  776; 
male  head  from  Tivoli,  808;  the 
Pourtales  Apollo,  851;  colossal, 
of  Herakles,  852;  Dionysos,  855; 
a satyr,  858;  aGaul,859;  Homer, 
900;  Epicurus,  902;  Periander 
(?),  903;  a youth,  Alexander  the 
Great  (?),  905;  Julius  Caesar, 
965;  Augustas,  971;  Klytie,  so 
called,  974;  Nero,  975;  an  em- 
press (?),  977;  Hadrian,  982;  a 
Roman  lady,  Sabina  or  Matidia, 
983;  Antinous,  985;  Antoninus 
Pius,  987;  Marcus  Aurelius, 
988;  Eaustina  the  younger  (?), 
989. 

Reliefs:  from  the  Palace  of  Ashur- 
nasir-pal,  at  NimrCid,  12 1-143; 
from  the  Palace  of  Ashur-bani- 
pal  at  Kouyunjik,  147-154; 
fragment  of  a Persian  frieze  with 
three  warriors  in  procession, 
1 93 ; Persian,  with  a warrior  and 
rosettes,  194;  casts  of  Persian 
friezes,  with  bullocks,  lions,  and 
rosettes,  195,  196;  with  dancing 
figures,  archaic,  from  Karakewi, 
356;  from  the  Temple  of  Arte- 
mis at  Ephesos,  372-375;  from 


33' 

the  Harpy  Tomb,  376;  frieze 
found  on  the  Akropolis  at  Xan- 
thos,  377;  frieze  of  animals  and 
satyrs,  from  the  same,  378;  of 
cocks  and  hens,  from  the  same, 
379;  reliefs  from  a sepulchral 
chest,  380;  gable  of  a tomb  with 
reliefs,  381;  ditto,  382;  Bellero- 
phon,  from  Melos,  386;  from 
Melos  (of  Alkaios  and  Sappho?), 
387;  Perseus,  from  Melos,  388; 
a youth  holding  his  horse,  467; 
metopes  from  the  Parthenon, 
513-520,  522-528;  Parthenon 
frieze,  530;  fragment  of  a copy 
of  the  shield  of  Athena  Parthe- 
nos,  540;  slabs  from  the  frieze  of 
the  Temple  of  Nike  Apteros, 
543,  544;  frieze  from  the  Temple 
of  Apollo  at  Phigaleia,  553; 
friezes  from  the  Nereid  monu- 
ment, 558,  559;  stele  of  Xan- 
thippos,  628;  gravestone  in  the 
form  of  a lekythos,  650;  stele  of 
Exakestes  and  Metreis,  651;  of 
a warrior,  656;  of  Jason,  657;  of 
Artemidoros,  658;  of  Aristokles, 
659;  akroterion,  from  Eleusis, 
664;  akroterion,  666;  part  of  the 
stele  of  Eumachos,  671;  ditto, 
of  Smikylion,  672;  reliefs  from 
the  Temple  of  Artemis  at 
Ephesos,  736-738;  frieze  from 
the  Mausoleum,  740-744;  frieze 
fragments  from  Priene,  864-870; 
Dionysos  received  by  I karios  (?) , 
873;  the  Apotheosis  of  Homer, 
S8^;  votive,  Hekate  (?)  with  a 
horse  and  dog,  919;  with  offer- 
ings to  Eileithyia,  921;  of  two 
horsemen,  928;  of  a bull  fight, 
929;  with  toilet  articles,  of 
Claudia  Ageta,  933;  ditto,  of 
Anthousa,  934;  hair  dedicated  to 
Poseidon,  935;  from  a sarcoph- 
agus, with  a processional  car, 
950;  frieze  of  Amazons  from  a 
sarcophagus,  951;  a marriage 
ceremony,  from  a sarcophagus, 
952;  a frenzied  maenad,  956; 
a tragic  and  a comic  mask,  957; 
panel  on  a pivot,  with  masks, 
958;  Nike  pouring  a libation  to 
Apollo,  997;  Nike  sacrificing  a 
bull,  1356;  Dionysos  and  a satyr, 
1357;  satyr  and  maenad  with 


332 


INDEX  BY  PLACES 


the  infant  Dionysos,  1358;  two 
canephori  before  a candelab- 
rum, terracotta,  1361;  a winged 
head,  terracotta  frieze,  1372. 

Miscellaneous:  prow  of  a boat  with 
head  of  the  goddess  Hathor,  30; 
recumbent  lion,  Egyptian, 
from  Nubia,  31;  side  of  a 
small  obelisk  from  Memphis, 
47;  Rosetta  stone,  53;  Chal- 
daean  boundary  stone,  107; 
black  obelisk  from  Nimrfld, 
144;  fragment  of  threshold  from 
the  Palace  of  Sennacherib  at 
Kouyunjik,  146;  fragment  of 
a tablet  with  Himyaritic  in- 
scription, 217;  fragments  from 
the  Treasury  of  Atreus  at  My- 
kenae,  342-344;  herma  of  Pan, 
QQ2;  krater  with  reliefs,  1005; 
front  of  the  sepulchral  chest 
of  Cornelia  Servanda,  1010; 
sepulchral  chest  of  Vernasia 
Cyclax,  loii;  sepulchral  chest 
of  Silia  Attica,  1012;  base  of  a 
candelabrum,  1016;  the  Port- 
land vase,  ii68;  lion’s  head 
from  Ephesos,  1181;  fragment 
of  a lacunar  with  reliefs,  1185; 
ditto,  1186;  volute  of  an  Ionic 
capital,  from  Athens,  1229; 
Ionic  column  from  the  Nereid 
monument,  1232;  double  egg- 
and-dart  moulding,  from  the 
same,  1233;  tomb  of  Payava, 
1234;  detail  of  Lycian  architec- 
ture, 1235;  section  of  the  cyma- 
tium  of  the  Mausoleum  at  Hali- 
karnassos,  1 236;  fragments  from 
the  temple  of  Artemis  at  Ephe- 
sos, 1246,  1247;  Roman  console 
with  the  figure  of  a Victory, 
1299;  moulding  from  a Roman 
sarcophagus,  1329;  sphinx  from 
a Roman  table-support  (?), 
1346;  Roman  table-legs,  1350, 
1351. 

Chapel  of  St.  Stephen.  Detail, 
1889. 

Hampton  Court.  Reliefs  of  Augus- 
tus and  Vitellius  Caesar,  by  Gio- 
vanni da  Maiano,  2310,  2311. 

Lansdowne  House.  Wounded 
Amazon,  590;  stele,  626;  statue 
of  Herakles,  from  Tivoli,  723; 
Hermes  tying  his  sandal,  734. 


Old  InnerTemple  Hall.  Capitals, 
1550  1551. 

Royal  Architectural  Museum. 
Runic  gravestones,  1 539,  1 540. 

South  Kensington  Museum. 
Cupid  kneeling,byMichelangelo, 
2321;  Jason,  by  a pupil  of 
Michelangelo,  2336;  Madonna 
and  Child,  by  A.  Rossellino, 
2386. 

Temple  Church.  Capital,  1552. 

Westminster  Abbey.  Details, 
1890-1904;  ornament  from  the 
tomb  of  Henry  VII,  2015. 

In  Private  Possession.  Relief  of 
St.  Cecilia,  by  Desiderio,  2273. 

LORSCH 

Michaels-Capelle.  Details,  1505- 
1513. 

LUCCA 

Cathedral  OF  San  Martino.  Head 
of  St.  Regulus,  by  Civitali,  2257; 
bust  of  Count  Domenico  Ber- 
tini,  by  Civitali,  2258;  kneeling 
angels,  by  Civitali,  2261  A,  B; 
detail  of  ornament  from  the 
altar,  by  Civitali,  2264;  tomb  of 
llaria  del  Carretto,  by  Jacopo 
della  Quercia,  2357. 

Church  of  San  Frediano.  Re- 
table from  the  Trenta  altar,  by 
Jacopo  della  Quercia,  2356. 

Church  of  San  Romano.  Relief 
from  the  monument  of  St. 
Romanus,  by  Civitali,  2260. 

Church  of  the  Santa  Trinita. 
Madonna  delleTosse,  by  Matteo 
Civitali,  2263. 

LUDLOW 

Church  of  St.  Lawrence.  Poppy- 
head,  1905. 

LYONS 

Museum.  Statuette  of  Herakles 
resting,  1145. 

MAASTRICHT 

Church  of  St.  Servatius.  Capi- 
tals, 1531-1536. 

MADRID 

Armeria  Real.  Model  of  the  door- 
way of  the  Cathedral  of  Sara- 
gossa, 1919. 


INDEX  BY  PLACES 


333 


Royal  Museum.  Head  called 
'■  Pherekydes,  ' found  at  Tivoli. 
44Q:  puteal  with  the  birth  of 
Athena.  508:  sleeping  Ariadne, 
837,  bust  of  Cicero,  963. 

MAINZ 

Cathedral  of  St.  Martin.  De- 
tails, 1852-  1854. 

MANNHEIM 

Antiquarium.  Hermes  and  Diony- 
sos, relief  after  Praxiteles,  692. 

MANTES 

Church  of  Notre-Dame.  Detail, 
1722. 

MANTUA 

Museum.  Mantuan  Apollo,  464. 

MARBURG 

Church.  Panels,  1838-1840. 

Palace.  Capitals  from  the  Chapel, 
1841-1845. 

MILAN 

Castello  Sforzesco.  Lombard 
capitals  from  Santa  Maria 
d’Aurona,  1430-1432;  effigy  and 
reliefs  from  the  tomb  of  Gaston 
de  Foix,  241  5 A-J. 

Cathedral.  Tympanum  by  Hans 
von  Fernach,  1803:  architec- 
tural details,  1804-1807. 

Chapel  of  St.  Aquilinus.  End  of 
an  Early  Christian  sarcophagus, 
1401. 

Church  of  Sant’  Ambrogio.  De- 
tail of  an  Early  Christian  sar- 
cophagus, 1402;  details  from  the 
Lombard  pulpit,  1436  A,  B; 
architectural  details,  1433- 
1435- 

Church  OF  San  Satiro.  Detail  of 
the  frieze  in  the  sacristy,  by 
Caradosso,  2416. 

Ospedale  Maggiore.  Window 
frame,  1808. 

MOISSAC 

Church  of  St.  Pierre.  Columns 
from  the  Cloister,  1453-1456; 
abaci  of  capitals,  1457-1401; 
detail  of  the  lintel  of  the  south 
door,  1462. 

MOSCOW 

Brackets,  2186,  2187. 


MUNICH 

Antiquarium.  Relief  with  Flermes 
and  Aphrodite  389:  statuette 
of  Zeus,  1105,  of  Aphrod’.te  un 
fastening  her  sandal,  1134;  of 
a satyr  drawing  a thorn  ,Gom 
his  foot.  1153;  of  a Diskobolos, 
1155-  terracotta  masks.  Etrus- 
can, 1389-1392. 

Bavarian  National  Museum. 
Knocker,  1514;  Romanesque 
capitals,  1515-1521;  Roman- 
esquefrieze  i 522;columns?rom 
the  Cathedral  of  Wurzburg, 
1525,  1526,  panels  from  an 

Italian  chest,  2016  A-C;  knocker 
from  Berghausen,  2118;  details 
from  a doorway  in  Landshut, 
2129  A-D;  details  of  an  altar, 
2130,  213  1 ; carved  rafters.2132- 
2138;  panels  of  bridal  chests, 
2139.  2140;  panel,  2141;  ivory 
door  of  a cabinet,  2142;  column 
from  a choir  stall,  2143;  panels 
of  a window  frame,  2144  A-C; 
chair  back,  2145;  back  and  sup- 
port of  a chair,  2146  A,  B;  end 
piece  of  a tablet,  2147:  small 
wooden  column,  2148;  tablet 
with  frame  and  inscription, 
2149:  pilaster  strips,  2150-2152; 
fragment  of  ornament  from  the 
old  Hoftheater,  2153;  ceiling 
panel  from  Passau,  2163, 

Glyptothek.  Apollo  of  Tenea, 
396:  sculptures  from  the  Aegina 
pediments,  408-427;  head  of  a 
warrior,  Roman  copy,  430; 
Roman  copy  of  Nike  balus- 
trade reliefs,  552;  athlete  pour- 
ing oil  into  his  hand,  563:  bust 
of  Athena.  573:  bronze  head  of 
an  athlete,  ooo;  Diomedes,  so 
called,  statue.  610;  Eirenewith 
the  infant  Ploutos,  681 ; Aphro- 
dite of  Knidos,  copy,  698: 
llioneus,  so  called,  714;  head  of 
an  athlete,  764;  female  head, 
from  Ostia.  767;  the  Barberini 
Eaun,  830:  boy  struggling  with 
a goose,  849;  head  of  a youth- 
ful satyr,  857;  wedding  pro- 
cession of  Poseidon  and  Am- 
phitrite,  871. 

New  Rathaus.  Details,  1855-1858. 


334 


INDEX  BY  PLACES 


MURANO 

Church  of  San  Donato.  Details, 
141 1,  1412, 

MURGHAB,  PLAIN  OF 

Relief  of  King  Cyrus,  18 1. 

MYKENAE 

Lions  over  the  gate,  341. 

NANTES 

Cathedral  of  St.  Pierre.  Detail 
from  the  tomb  of  Duke  Fran- 
cois II  of  Brittany,  by  Colombo, 
2482. 

NAPLES 

Museum.  Statues:  Tyrannicides, 

Roman  copy,  447,  448;  Dory- 
phoros  after  Polykleitos,  585; 
Venus  of  Capua,  746;  so-called 
Psyche,  751;  Aischines,  774;  a 
dying  Gaul,  784;  a dead  Persian, 
787;  a dead  Amazon,  790;  Eros 
and  a dolphin,  826;  a drunken 
satyr,  1049;  Herm.es  resting, 
1050;  dancers,  1051-1055;  girl 
praying  (?),  1056;  satyr  resting, 
1057;  athletes,  1058,  1059. 

Statuettes:  cupids  or  genii,  1060- 
1064;  satyrs  bearded,  1065- 
1068;  young  satyr  leaping, 
1069;  Athena,  1113;  Hermes 
seated,  1 120;  Aphrodite  unfast- 
ening her  sandal,  1133;  young 
Herakles,  1 143. 

Busts:  Farnese  Hera,  592;  Seneca, 
so  called,  1019;  unknown  por- 
trait, 1020;  archaic,  of  Apollo, 
1021 ; Dionysos,  1022;  a youth, 
1023;  ditto,  Polykleitan  type, 
1024;  an  Amazon,  1025;  the 
Doryphoros,  1026:  male  por- 
trait, called  Archytas,  1027; 
called  Herakleitos,  1028;  called 
Demokritos,  1029;  a youth, 
1030;  called  PtolemyAlexander, 
1031;  called  Ptolemy  Lathyros, 
1032;  called  Ptolemy  I Soter, 
1033;  called  Ptolemy  Philadel- 
phos,  1034;  called  Berenice, 
1035;  called  Sappho,  1036;  a 
youth,  originally  wreathed, 
1037;  of  Scipio  Africanus  (?), 
1038;  called  Sulla,  1039,  1040; 
of  Demosthenes,  1041,  1042;  of 


Metrodoros,  1043;  called  Agrip- 
pina, 1044;  of  Epicurus,  1045, 
1046;  of  Hermarchos,  1047;  c>f 
Zeno,  1 048. 

Reliefs:  grave  stele,  of  deceased 
with  his  dog,  458;  Dionysos  re- 
ceived by  Ikarios,  874;  Diony- 
siac  procession,  878;  scene  from 
a comedy,  886. 

Miscellaneous:  herma  of  Herod- 
otos  and  Thucydides,  778; 
lamp  stands  in  the  form  of  a 
Silenos,  1173,  1174;  table-leg 
from  Pompeii,  1347;  Roman 
candelabrum,  1354. 

naumburg 

Cathedral.  Capital,  1523. 

NIMES 

Maison  Carree.  Section  of  a 
Roman  frieze,  1308. 

NUREMBERG 

Church  of  St.  Lorenz.  Model  of 
the  rose  window,  1846;  the 
Seven  Joys  of  the  Virgin,  by 
Veit  Stoss,  2550  A-G. 

Church  of  St.  Sebald.  Small 
group  of  the  Madonna  and 
Child,  by  Godl,  2541;  relief  of 
the  Betrayal  of  Christ,  by  Veit 
Stoss,  2552;  monument  of  St. 
Sebald,  by  Peter  Vischer,  2555. 

Frauenkirche.  Kneeling  angels, 
by  Veit  Stoss,  2548,  2549. 

The  Gansemarkt.  The  “little 
gooseman,”  by  Labenwolf,2545. 

Germanic  Museum.  Knockers. 
21 56-21  58;  Fourth  and  Seventh 
Stations  of  the  Cross,  by  Adam 
Krafft,  2543,  2544;  the  Rosary, 
by  Veit  Stoss,  2551;  effigy  of  a 
Saint,  by  Veit  Stoss,  2553;  the 
Nuremberg  Madonna,  statue  by 
Peter  Vischer  the  younger  (?), 
2561. 

Landauer  Monastery.  Lock  of  a 
door,  21  59. 

Private  House  in  the  Binder- 
GASSE.  Statue  of  the  Madonna 
and  Child,  by  Adam  Krafft, 
2542. 

Rathaus.  Fragment  of  the  rail- 
ing by  Peter  Vischer,  formerly 


INDEX  BY  PLACES 


335 


here,  2155;  statuette  of  Apollo, 
by  Hans  Vischer,  2562. 

The  St.  Jakobs-Kirche.  Pieta, 
group,  Nuremberg  school, 
2563. 

Miscellaneous.  Lock  of  a door, 
21^4;  relief  of  the  Forge  of  St. 
Eligius,  by  Veit  Stoss,  2554. 

OLDENBURG 

Knocker,  2160;  panels,  2161,  2162. 

OLYMPIA 

Museum.  Statues;  pediment  of  the 
Treasury  of  the  Megarians,  401 ; 
pediment  groups  from  the 
Temple  of  Zeus,  468,  469;  Nike 
of  Paionios,  601;  Hermes  of 
Praxiteles,  6qi. 

Statuettes:  a Eumenid  holding  a 
serpent,  archaic,  391;  Zeus 
standing,  1073;  hurling  a 
thunderbolt,  1075;  Apollo,  •07^* 
1077;  Artemis,  archaic,  1087; 
Aphrodite,  archaic,  1088;  a 
youth  reclining,  1 093 ; a warrior, 
archaic,  1094;  ditto,  1096;  Dis- 
kobolos,  archaic,  1099;  female 
figure  as  a mirror  support, 

1 102. 

Busts:  Hera  (?),  with  a crown, 
archaic,392;  fragmentaryfemale 
head  (Hera  ?),  archaic,  393; 
Zeus  (?),  bearded,  from  the 
Temple  of  Zeus,  405;  a bearded 
warrior,  archaic,  406;  small  head 
of  Aphrodite,  709. 

Reliefs:  bronze,  of  an  archer 
(Herakles?),  404;  fragments  of 
metopes  from  the  Temple  of 
Zeus,  470-474. 

Miscellaneous : griffin’s  head, 

bronze,  1 103;  antefix,  a Gorgon’s 
head,  1182;  waterspouts  in  the 
form  of  lions’  heads,  1 188-1 194; 
Lesbian  moulding,  1226;  terra- 
cotta antefixes,  1377. 

Palaestra.  Section  of  a Doric 
capital,  1259. 

Pelopion.  Section  of  a Doric 
capital  and  anta,  1231. 

ORCHOMENOS 

Treasury  of  Minyas.  Fragment, 
345- 


OUDENAARDE 

Town  Hall.  Details  from  the  door 
of  the  Council  Chamber,  2179 

A-J. 

OXFORD 

Ashmolean  Museum.  The  Oxford 
bust,  770, 

Chapel  of  All  Souls’  College. 
Choir-stall  seat,  1906. 

PADUA 

Church  of  Sant’  Antonio.  Sculp- 
tures from  the  altar,  by  Dona- 
tello, 2282  A-L. 

Piazza  del  Santo.  Equestrian 
statue  of  Gattamelata,  by  Don- 
atello, 2281. 

PAGNY 

Chateau.  Frieze  from  the  Chapel, 
2062;  details  from  the  tomb  of 
Jean  de  Vienne,  2063  A-C. 

PALERMO 

Museum.  Perseus  metope  from 
Selinus,  394. 

PARIS 

Abbey  Church  of  St.  Denis.  De- 
tails, 1745-1747;  choir  stall  from 
the  Chateau  of  Gaillon,  2064. 

Abbey  of  St.  Martin  des  Champs. 
Details,  1759-1761. 

Arc  de  Nazareth.  Panels,  2065, 
2066. 

Bibliotheque  Nationals.  The 
Paris  cameo,  1017;  (?)  statuette 
of  Athena,  1 1 i2;of  Hermes,  1 1 18; 
of  a satyr  or  young  Pan,  1148; 
of  Kephalos  sitting  on  a rock, 
1154;  of  a warrior,  1159;  of  a 
Roman  priest,  1 160;  of  a tragic 
actor,  Roman,  1 164;  waterspout 
in  the  form  of  a lion’s  head, 
fifth  century,  1 187. 

Ecole  des  Beaux-Arts.  The 
■“Minerva  Medici,”  567;  section 
of  a Roman  frieze,  1306;  relief 
from  a Roman  door-post,  1319: 
terracotta  relief  of  two  winged 
lions,  Roman,  1373;  Gothic  de- 
tails from  the  Hotel  de  la  Tre- 
mouille,  1748-1755;  panel  from 
the  Chateau  d’Anet,  2049; 
column  from  St.  Pere,  Chartres, 


INDEX  BY  PLACES 


336 


2067;  capitals  from  the  tomb  of 
Philippe  de  Comines,  2068  A,  B; 
details  from  the  Chateau  of 
Gaillon,  2070-2075;  detail  of  a 
jamb,  2069. 

Hotel  Villacerf.  Detail,  2076. 

Hotel  de  Ville  (old).  Head  of 
Medusa  from  a door  panel, 
2094;  detail  from  a window 
frame,  2095. 

House  by  Vaugirard.  Capitals, 
2092,  2093. 

Louvre.  Ancient.  Statues:  from 
the  Palace  of  Gudea,  at  Tello, 
101-104;  Hera  (?)  from  Samos, 
350;  Apollo  of  the  Mantuan 
type,  465;  Minerve  au  Collier, 
534;  Venus  Genetrix,  568; 
Athena  from  Velletri,  572; 
Borghese  Achilles  or  Ares,  605; 
Aphrodite  of  Arles,  695;  torso 
of  a satyr,  after  Praxiteles,  yo3t 
Artemis  of  Gabii,  706;  Venus  of 
Melos,  745;  Apollo  resting,  757; 
young  Gaul,  kneeling,  786; 
Nike  of  Samothrake,  809;  Arte- 
mis of  Versailles,  814;  Aphro- 
dite in  the  bath,  816;  Silenos 
and  the  infant  Dionysos,  829; 
the  Borghese  warrior,  846;  por- 
trait of  a Roman,  967;  portrait, 
restored  as  Augustus,  970;  a 
Roman  girl,  978. 

Statuettes:  Zeus,  1 107,  1 108;  Ares, 
1117;  Hermes,  1119,  1121;  Her- 
mes v/ith  the  infant  Dionysos, 
1122;  Aphrodite  arranging  her 
hair,  1130;  Aphrodite,  1131; 
Aphrodite  arranging  her  hair, 
1135;  Herakles,  1142;  Herakles 
wreathed  with  poplar,  1 144; 
a satyr,  1149;  (?)  a child, 
Roman  period,  i 162. 

Busts:  male  portrait  heads  from 
the  Palace  of  Gudea,  105,  io6; 
Aphrodite,  715;  Alexander  the 
Great,  “Azara”  bust,  904; 
Marcus  Vipsanius  Agrippa,  972; 
Zeus,  archaistic,  993. 

Reliefs:  friezes  from  the  Palace 
of  Artaxerxes  11,  Mnemon,  at 
Susa,  197,  198;  Phoenician  slab 
from  Arad,  2 1 4;  ditto  from  Byb- 
105,215;  Phoenician  stele  from 
Hadrumetum,  216;  metopes  and 
friezes  from  the  Temple  of 


Assos,  357-361,  363-368;  Aga- 
memnon and  heralds,  archaic, 
from  Samothrake,  371;  Apollo 
and  the  Nymphs,  Hermes  and 
the  Graces,  from  Thasos,  451; 
fragments  of  metopes  from 
Olympia,  472,  473;  metope  from 
the  Parthenon,  521;  slab  from 
the  Parthenon  frieze,  530;  stele 
of  Philis,  617;  stele  of  Arche- 
demos,  652;  detail  from  a 
Roman  frieze,  1307;  satyrs 
drinking  from  a basin,  1362; 
two  genii  holding  a garland, 
1363;  figure  of  Victory  among 
arabesques,  1364;  a man  giving 
drink  to  two  monsters,  1366; 
heads  among  scrolls  and  pal- 
mettes,  1370;  palmettes  and 
scrolls,  1371. 

Miscellaneous:  Egyptian  sarcoph- 
agus found  at  Sidon,  45;  frag- 
ment of  threshold  from  the 
Palace  of  Sargon  at  Khorsabad, 
145;  capitals  from  Cyprus,  21 1- 
213;  Borghese  altar,  994;  vase 
of  Sosibios,  1002;  the  Borghese 
vase,  1003;  round  altar  with  re- 
liefs, 1008;  candelabrum  with 
maenads,  1013;  handle  of  a jug, 
a youth  holding  lions,  1104; 
half  of  a Doric  capital,  from 
Assos,  1 178;  leg  of  a bed,  from  a 
grave  monument,  1248;  entab- 
lature from  a Roman  temple  at 
Byblos,  1303;  candelabrum 
from  a Roman  frieze,  1317;  a 
Roman  funerary  cippus,  1337; 
Roman  table-leg,  1348;  terra- 
cotta antefix,  1376;  terracotta 
antefixes,  Etruscan,  1378. 

Louvre.  Renaissance.  Statues: 
bound  captives,  by  Michelan- 
gelo, 2317,  2318;  the  three 
Graces,  by  Pilon,  2494. 

Statuettes:  miodel  for  David,  by 
Donatello,  2300;  Abundance,  by 
Prieur,  2499. 

Busts:  Filippo  Strozzi,  by  Bene- 
detto da  Maiano,  2245;  the 
“femme  inconnue,”  by  Lau- 
rana,  2312;  the  young  St.  John 
the  Baptist,  by  Mino  da  Fiesole, 
2344;  a young  woman,  Floren- 
tine school,  2408;  head  of  the 
statue  of  Diana  by  Goujon, 


INDEX  BY  PLACES 


2484;  a young  man,  helmeted, 
by  Antoine  Juste,  2492;  Charles 
IX,  by  Pilon,  2495:  a child, 
called  Henri  IV,  by  Pilon, 
2496;  Francois  I,  2503. 

Reliefs:  a Roman,  by  Donatello, 
2296;  the  Christ  Child,  by  A. 
Rossellino  (?),  2395;  St.  George 
and  the  Dragon,  by  M.  Colombe, 
2481;  water  nymphs  from  the 
Fontaine  des  Innocents,  by 
Goujon,  2485  A-D;  Valentine 
Balbiani,  from  her  tomb,  by  Pi- 
lon, 2497;  reliefs  from  the  tomb 
of  Henry,  Duke  of  Longueville, 
by  Anguier,  2504  A-D. 

Miscellaneous:  details  of  a chim- 
ney-piece from  the  Chateau  of 
Villeroy,  2082  A-G ; panels  from 
the  Campana  Collection,  2083- 
2085;  tomb  of  Philippe  deCha- 
bot,  2502. 

Architectural  details:  capital  from 
the  facade,  2077;  reliefs  over  a 
window,  by  Jean  Goujon,  2078; 
detail  of  a wainscot,  2079;  door 
panels,  2080  A-C;  tablet  in  the 
Hall  of  the  Caryatids,  by  Jean 
Goujon,  2081. 

Luxembourg.  Statue  of  St.  John 
the  Baptist  as  a child,  by  Du- 
bois, 2601;  statue  of  a Floren- 
tine singer,  by  Dubois,  2602. 

The  Madeleine.  Detail  of  the 
door,  2108. 

Musee  Carnavalet.  Relief  of  a 
lion  from  the  facade,  2086; 
masks,  forming  key-stones, 
2087,  2088;  lion’s  head,  2089. 

Musee  DE  Cluny.  Altar  front  from 
the  Abbey  Church  of  St.  Ger- 
mer,  1787;  knockers,  2090,  2091 ; 
bronze  model  of  Cupid,  by  Gou- 
jon, 2489. 

Notre-Dame.  Model,  1723;  sculp- 
tural details,  1724,  1726,  1733, 
1734;  architectural  details, 
1727-1732,  1735-1744;  orna- 

mental hinge,  1725, 

Palais  de  Justice.  Corbel,  1756. 

Place  du  Pantheon.  Le  Penseur, 
by  Rodin,  2607. 

Sainte-Chapelle.  Details,  1757, 
1758. 

Theatre  Fran^ais.  Bust  of 
Rousseau,  by  Caffieri,  2505; 


337 

head  from  the  statue  of  Vol- 
taire, by  Houdon,  2506. 

Palajs  des  Tuileries.  Details 
from  the  facade,  2096-2099; 
group  of  a lion  crushing  a ser- 
pent, by  Barye,  in  the  Garden, 
2600. 

In  Private  Possession.  The  La- 
borde  head  from  the  Parthenon, 
493 ; archaic  statuetteof  Athena, 
1086;  small  group  of  athletes 
wrestling,  1157;  terracotta  re- 
lief of  a sphinx,  1368;  bust  of  a 
child,  by  Desiderio,  2271;  relief 
of  St.  John  adoring  Christ,  by 
Desiderio,  2278;  Madonna  and 
Child,  by  A.  Rossellino,  2385; 
boy  on  a globe,  by  Verrocchio, 
2401;  models  for  the  panels  of 
the  Signs  of  the  Zodiac,  by  Gou- 
jon, 2486  A-L;  head  of  a cherub, 
by  Pilon,  2498. 

pasargadae 

Relief  of  King  Cyrus,  181. 

PAVIA 

TheCertosa.  Panelson  thefafade, 
2017,  2018;  window  frame, 

2019;  capital,  2020;  spandrels 
from  the  Great  Cloisters,  2021 ; 
relief  portraits  of  Dukes  and 
Duchesses  of  Milan,  by  Briosco, 
2413;  bust  of  Caterina  Visconti, 
by  Briosco,  2414;  end  of  the 
monument  and  bust  of  Gian 
Galeazzo  Visconti,  2417  A,  B; 
busts  of  Lodovico  il  Moro  and 
Beatrice  d’Este,  by  Solario, 
2419  A,  B. 

PEIRAIEUS 

Museum.  Grave  relief,  642;  stele 
with  a sepulchral  banquet,  646; 
infant  Ploutos,  from  a group, 
682. 

PERSEPOLIS 

Great  Hall  of  Xerxes.  Frieze 
representing  deputations  with 
offerings,  185;  frieze  of  officials 
with  flowers,  186. 

FIall  of  the  Hundred  Columns. 
Relief  of  Xerxes  (?)  under  a 
canopy,  187. 

Palace  of  Darius.  Relief  of  a 
royal  bodyguard,  182;  a king 


INDEX  BY  PLACES 


338 

stabbing  a lion,  183;  a king 
stabbing  a monster,  184;  in- 
scription of  Xerxes,  188;  reliefs 
from  a stairway,  189. 

Southeast  Palace.  A king  stab- 
bing a monster,  iqo. 

Miscellaneous.  A lion  from  the 
frieze  of  a royal  tomb,  iqi  ; base 
of  a column,  192. 

phigaleia 

Temple  of  Apollo.  Fragment  of 
an  Ionic  capital,  1227. 

PISA 

Baptistery.  Statuettes  from  the 
pulpit  by  Niccolo  Pisano,  1809 
A,  B. 

Campo  Santo.  Colossal  vase,  Neo- 
Attic,  1006;  bust  of  Isotta  da 
Rimini,  so  called,  Florentine 
school,  2409. 

Cathedral.  Detail  of  an  altar  by 
Stagio  Stagi,  2022. 

PISTOIA 

Church  of  San  Giovanni  fuor 
CiviTAS.  The  Virgin  visiting 
St.  Elizabeth,  by  Luca  della 
Robbia,  2374. 

OsPEDALE  DEL  Ceppo.  Visiting  the 
Sick,  and  Feeding  the  Poor,  re- 
liefs by  the  della  Robbia  school, 
2378  A,  B. 

POITIERS 

Church  of  Notre  - Dame  - la- 
Grande.  Details  from  the 
fagade,  1463,  1464. 

Musee  des  Augustins.  Capitals, 
2100,  2101. 

POMPEII 

House  of  C.  Cornelius  Rufus. 
Table  supports,  1344. 

POTSDAM 

Sanssouci  Castle.  Bust  of  Homer, 
901. 

PRATO 

Cathedral.  Relief  from  the  ex- 
terior pulpit,  by  Donatello, 
2298. 

RAMBOUILLET 

Chateau.  Door,  2109. 


RAVENNA 

Accademia  delle  Belle  Arti. 
Monument  of  Guidarello  Gui- 
darelli,  2434. 

RHEIMS 

Cathedral  of  Notre-Dame.  Ar- 
chitectural details,  1762,  1763, 
1766-1768,  1769;  sculptural  de- 
tails, 1764,  1765,  1770. 

ROCHESTER 

Cathedral.  Voussoirs,  i 553  A-I. 

ROME 

Arch  of  Titus.  Relief,  942. 

Barracco  Museum.  Head  of  a 
youth,  archaic,  428;  statue  of  a 
youth,  61 1. 

Baths  of  Agrippa.  Section  of  the 
entablature.  1273. 

Capitoline  Museum.  Statues:  Am- 
azon, 607;  satyr  (the  Marble 
Faun),  702;  the  dying  Gaul, 
782;  Venus  of  the  Capitol,  818; 
Eros  stretching  a bow,  825; 
satyr  and  goat,  835;  a woman 
carrying  a vase,  941;  seated, 
called  Agrippina  the  elder,  980; 
Antinous,  984. 

Busts:  Marsyas,  856;  Marcus  Ju- 
nius Brutus  (?),  962;  P.  Cor- 
nelius Scipio  Africanus,  964. 

Reliefs:  the  dying  Meleager,  947; 
centaur  and  Eros,  953. 

Miscellaneous:  Roman  rosette, 

'339. 

Church  of  St.  Peter.  Details 
from  the  bronze  doors,  2027; 
Pieta,  group  by  Michelangelo, 
2322. 

Church  of  San  Giovanni  in  Later- 
ANO.  Details  from  the  Cloister, 
1437,  1438. 

Church  of  San  Lorenzo.  (?)  Ionic 
capital,  Roman,  1284. 

Church  of  San  Pietro  in  Vincoli. 
Moses,  by  Michelangelo,  2316. 

Church  of  Santa  Maria  del 
PopoLO.  Panels  from  the 
tombs  of  Girolamo  Basso  and 
Sforza,  by  A.  Sansovino,  2025 
A-C,  2026  A,  B;  tomb  of  Cristo- 
foro  della  Rovere,  by  Bregno, 
2420;  reliefs  of  the  Annuncia- 
tion, from  the  altar,  2425;  tomb 


INDEX  BY  PLACES 


of  Pietro  Foscari,  by  Rizzo, 
2428. 

Church  of  Santa  Maria  in  Cos- 
MEDiN.  Part  of  an  Ionic  cap- 
ital, Roman,  1282. 

Church  of  Santa  Maria  in  Tras- 
TEVERE.  Tabernacle,  by  Mino 
da  Fiesole,  2346. 

Church  of  Santa  Maria  sopra 
Minerva.  The  risen  Christ,  by 
Michelangelo,  2324. 

Church  of  Santa  Pudenziana. 
(?)  Half  of  a capital,  Roman, 
1285;  architrave.  Early  Chris- 
tian, 1403. 

Church  of  Santa  Sabina.  Carved 
wooden  door,  1404. 

Church  of  Santo  Stefano.  Bor- 
der of  the  doorway,  1405. 

Column  of  Trajan.  Relief,  943; 
sections  of  moulding,  1327, 
1328. 

Lateran  Museum.  Roman  copy  of 
Myron’s  Marsyas,  562;  relief  of 
Medea  and  the  daughters  of 
Pelias,  378;  Sophokles,  775;  re- 
liefs probably  from  the  Hateria 
family  mausoleum,  945,  946; 
Ionic  capital  from  the  Forum  of 
Trajan,  1283;  half  of  a Roman 
Corinthian  capital,  1286;  frieze 
fragments  from  the  Basilica 
Llpia,  1300,  1301;  the  “rose 
pillar,”  Roman,  1314;  front  of 
a podium,  with  three  panels, 
1334;  section  of  a panel  from  a 
podium  (?),  1335;  Roman  table 
support,  1345;  relief  on  the  end 
of  an  Early  Christian  sarcoph- 
agus, 1406. 

Museo  delle  Terme.  Colossal 
head  of  a goddess  from  the 
Ludovisi  Collection,  407;  statue 
of  Dionysos,  599;  bust  of  Hera 
or  Demeter,  from  the  Ludovisi 
Collection,  609;  Ludovisi  Ares, 
732;  warrior  resting,  733;  the 
youth  from  Subiaco,  758;  the 
Gaul  and  his  wife,  783;  head  of 
a dying  Persian,  807:  Borghese 
satyr,  831;  boxer  resting,  842; 
head  of  a sleeping  Erinnys,  854; 
portrait  statue  of  a man  leaning 
upon  his  spear,  895;  group 
called  Orestes  and  Electra,  936; 
details  from  the  Farnesina  re- 


339 

liefs,  960;  colossal  bust  of  the 
Hera  Ludovisi,  so  called,  976; 
part  of  a portrait  statue  of  a 
Vestalis  Maxima,  979;  altarfrom 
Ostia,  1007;  half  of  a capital 
from  the  Mausoleumof  Hadrian, 
1279:  fragments  from  the  Ara 
Pacis  of  Augustus,  1313  A-C. 

Museo  Kircheriano.  Terracotta 
relief  of  “Menelaos  and  Helen,” 
1359;  of  “Pelops  and  Hippo- 
dameia,”  1360. 

Palazzo  della  Cancelleria.  Win- 
dow frame  and  balcony,  2023. 

Palazzo  dei  Conservatori.  Grave 
stele  of  a girl,  from  the  Esqui- 
line,  385;  ditto,  of  a woman, 
453;  the“Spinario,”  456;  Esqui- 
line  Venus,  457;  statue  of  a 
camillus,  939;  bust  of  Lucius 
Junius  Brutus (?),  961 ; the  Wolf 
of  the  Capitol,  999. 

Palazzo  Fiano.  Fragment  of  a cor- 
nice, Roman,  1276. 

Palazzo  Lance  llotti.  Plead  of 
the  Diskobolos,  so  called,  561. 

Palazzo  Spada.  Statue  of  Aristip- 
pos  (?),  894;  detail  from  the  re- 
lief of  the  Death  of  Archemoros, 
1253;  ditto,  of  Paris  and  Oinone, 
1254;  ditto,  of  the  Rape  of  the 
Palladium,  1255;  part  of  a Ro- 
man relief  with  a round  temple, 
'3'5- 

Pantheon.  Model,  1266;  model 
of  a Corinthian  capital,  1287. 

Temple  of  Antoninus  and  Faus- 
tina. Head  of  a lion  from  the 
cymatium,  1333. 

Temple  of  Castor.  Section  of  the 
entablature  and  capital,  1268; 
models  of  a capital  and  base, 
1269. 

Temple  of  Concord.  Section  of 
the  entablature,  1271;  section  of 
a base,  1288. 

Temple  of  Mars  Ultor.  Section 
of  the  architrave,  1274. 

Temple  of  Romulus.  Section  of  a 
cornice,  1275. 

Temple  of  Vespasian  and  Titus. 
Section  of  the  entablature.  1 270; 
section  of  the  frieze,  1338. 

Theatre  of  Marcellus.  Models 
of  the  architraves,  bases,  and 
capitals,  1277,  1278. 


INDEX  BY  PLACES 


340 

Vatican  Museum.  Statues:  girl 
starting  in  a race,  454;  Penelope, 
so  called,  455;  the  Diskobolos, 
so  called,  561 ; colossal  Demeter 
or  Hera,  566;  the  “Pallas  Gius- 
tiniani,”  57 1 ; “Mattel  Amazon,” 
606;  Diskobolos,  608;  Aphrodite 
of  Knidos,  copy,  697;  Apollo 
Sauroktonos  of  Praxiteles,  copy, 
700;  Eros,  from  Centocelle,  704; 
Hermes  of  the  Belvedere,  708; 
Meleager  of  Scopas,  copy,  722; 
Apollo  playing  the  lyre,  725 ; the 
“Chiaramonti”  Niobid,  728; 
the  Apoxyomenos  of  Lysippos, 
copy,  731;  Aphrodite  Anadyo- 
mene,  748;  figure  of  a Muse  or 
Kore  (?),  752;  rape  of  Gany- 
medes,  755;  a young  Persian 
kneeling,  788;  torso  of  a Triton, 
812;  Apollo  of  the  Belvedere, 
813;  Aphrodite  in  the  bath,  817; 
sleeping  Ariadne,  836;  Antioch- 
eia,  838;  torso  of  the  Belvedere, 
841;  the  Laokoon  group,  843; 
Demosthenes,  from  Frascati, 
890;  seated,  of  Menander  (?), 
892;  seated,  of  Poseidippos,  893; 
Augustus,  969;  Pudicitia,  so 
called,  981. 

Busts:  the  Barberini  Hera,  570; 
Alkibiades,  583;  Hephaistos, 
584;  Kronos,  603;  Euripides, 
777;  Plato,  780;  Serapis,  col- 
ossal, 850;  Menelaos,  from  a 
group,  853;  Socrates,  899; 
young  Augustus,  968. 

Reliefs:  a horseman,  575;  Diony- 
sos with  Theseus  and  Ariadne, 
from  Tivoli  (?),  875;  Dionysos 
and  Ariadne  with  Silenos,  876; 
votive,  of  Hermes,  Asklepios, 
and  the  three  Graces,  912;  cen- 
taurswithyouthson  their  backs, 
from  a Roman  cippus,  948;  a 
man  and  woman  and  a hind, 
from  a Roman  cippus,  949;  prep- 
arations for  a sacrifice,  954; 
group  of  husband  and  wife,  966; 
frieze  said  to  be  from  a sarcoph- 
agus from  Capua,  1264. 

Miscellaneous:  candelabrum  with 
reliefs  of  Herakles  and  Apollo, 
1014;  ditto,  with  Erotes,  1015; 
base  of  a pilaster,  late  Roman, 
1291;  a Roman  console,  1293; 


part  of  the  arm  of  a Roman 
couch,  1320;  sepulchral  cippus 
in  the  form  of  an  altar,  1336; 
the  sarcophagus  of  Lucius  Cor- 
nelius Scipio  Barbatus,  small 
model,  1355;  panel  by  Mino  da 
Fiesole,  in  the  Sistine  Chapel, 
2024;  fragment  of  a Renaissance 
frieze,  2028, 

Villa  Albani.  Leukothea  relief, 
383;  relief  of  Orpheus,  Eury- 
dike,  and  Hermes,  579;  stele  (?) 
of  a young  warrior,  627;  Apol- 
lo Sauroktonos  of  Praxiteles, 
bronze  copy,  701 ; head  of 
Sappho,  781;  relief  of  a satyr 
and  maenad,  879;  relief  of  Dai- 
dalos  and  Ikaros,  884;  Aesop, 
head  and  torso,  896;  statuette  of 
Diogenes,  897;  statue  of  a youth, 
by  Stephanos,  937:  relief  of  a 
dancing  maenad,  955;  fragment 
of  a relief  of  Antinous,  986. 

Villa  Giustiniani.  (?)  Section  of 
the  base  of  a column,  late 
Roman,  1289. 

Villa  Medici.  Decoration  of  a 
Roman  pilaster,  1316. 

Villa  Pamphili.  Face  of  a corner 
antefix,  1381. 

Miscellaneous.  Detail  of  a Ro- 
man frieze,  1 305 ; a Roman  ante- 
fix,  1383;  three  Byzantine  pan- 
els, 1413-141 5. 

ROMHILD 

Stiftskirche.  Tomb  of  Count 
Hermann  VI H of  Henneberg, 
by  Peter  Vischer,  2557;  monu- 
ment of  Count  Otho  IV  of  Hen- 
neberg, by  Peter  Vischer,  2559. 

ROTTERDAM 

Church  of  St.  Lawrence.  Capi- 
tals, 1865,  1866. 

ROUEN 

Cathedral  of  Notre-Dame.  De- 
tails, 1771-1783;  details  from 
the  tomb  of  Cardinal  George 
d’Amboise,  2102  A-F. 

Church  of  St.  Etienne  des  Ton- 
NELIERS.  Corbel,  1784. 

Church  of  St.  Maclou.  Face  and 
reverse  of  a door,  by  Jean 
Goujon  (?),  2103  A,  B. 


INDEX  BY  PLACES 


341 


Museum  of  Antiquities.  Details, 
1785,  1786. 

ST.  DENIS 

Abbey  Church.  See  Paris,  Abbey 
Church  of  St.  Denis. 

ST.  GERMAIN-EN-LAYE 

Musee.  Statuette  of  a dancer, 
1 1 56. 

ST.  GILLES 

Church.  Central  porch,  1465. 

ST.  NICHOLAS-AT-WADE 

Church.  Capitals,  1554,  1555- 

ST.  PETERSBURG 

Botkina  Collection.  Bust  of  the 
Christ  Child,  by  A.  Rossellino, 
2393- 

Hermitage.  Relief  of  the  destruc- 
tion of  the  children  of  Niobe, 
729;  statue  of  a goddess  from 
Cumae,  753:  head  of  Zeus,  761; 
sardonyx  cameo,  889;  a crouch- 
ing youth,  by  Michelangelo  (?), 
2329. 

SAINTES 

Church  of  St.  Eutropius.  Cap- 
itals, 1466,  1467. 

Church  of  Ste.  Marie-des-Dames. 
Capital,  1468. 

SAKKARA 

Tomb  of  Ti.  Reliefs,  7-19. 

SALISBURY 

Cathedral.  Details,  1907-1909. 

SAN  GIMIGNANO 

Church  of  Sant’  Agostino.  Ma- 
donna and  Child,  relief  by  Bene- 
detto da  Maiano,  2247. 

SARAGOSSA 

Cathedral  of  La  Seo.  Doorway, 
model,  1919. 

SEES 

Cathedral  of  Notre-Dame.  De- 
tails, 1788,  1789. 

SELINUS 

Temple  D.  Half  of  a Doric  capital, 
1 179. 


SENLIS 

Cathedral.  Pedestal,  1790. 

SENS 

Cathedral.  Sculptural  details, 
1791,  1792. 

SEVILLE 

Alcazar.  Capital,  1671. 

SHERBORNE 

Church  of  St.  Mary.  Details, 
1910,  19 1 1. 

SIENA 

Baptistery.  Font  by  Jacopo  della 
Quercia  and  others,  2355. 

Cathedral.  Pulpit,  by  Niccolo  Pis- 
ano, 1810;  niche  from  a choir 
stall,  2029;  statue  of  St.  John 
the  Baptist,  by  Donatello,  2285: 
relief  of  the  Madonna  and  Child, 
by  a pupil  of  Donatello,  2301; 
holy-water  basin,  by  Federighi, 
2302. 

Church  of  San  Domenico.  Re- 
liefs of  the  Evangelists,  by 
Benedetto  da  Maiano,  2248 
A-D. 

Church  of  San  Francesco.  Ma- 
donna and  Child,  by  a pupil  of 
Federighi,  2303. 

Monastery  of  the  Osservanza. 
(?)  Part  of  a pilaster,  2030;  re- 
lief of  the  Coronation  of  the 
Virgin,  by  Andrea  della  Robbia, 
2366. 

Opera  del  Duomo.  Group  of  the 
three  Graces,  Roman  copy,  820. 

Palazzo  del  Magnifico.  Flag 
bracket,  by  Cozzarelli,  2031. 

SOUTHWELL 

Minster.  Details,  1912,  1913. 

SOUVIGNY 

Priory  Church.  Effigies  from  the 
tomb  of  Charles  1,  Duke  of 
Burgundy,  and  his  wife,  by 
Jacques  Morel,  2493  A,  B. 

SPARTA 

Museum.  Grave  stele,  pyramidal, 
402. 

stone 

Church  of  St.  Mary.  Detail,  1914. 


INDEX  BY  PLACES 


342 

STUTTGART 

Royal  Collection.  Knocker,  1524. 

THEBES 

Museum.  Head  of  a girl,  ii6i. 

Temple  of  Medinet  Habu.  Relief 
from  the  second  Pylon,  41. 

Tomb  of  Rameses  HI.  Sunken  re- 
lief portrait  of  Rameses  HI,  40. 

TIVOLI 

Temple  of  Vesta.  Architectural 
details,  1272. 

TOLEDO 

Palace  of  the  Ayalas.  Frieze 
fragment,  1672. 

TORCELLO 

Cathedral  of  Santa  Maria. 
Byzantine  capital,  1416. 

TORTONA 

Church  of  San  Francesco.  Part 
of  a sarcophagus  called  “dei 
Greci,”  2032. 

TOULOUSE 

Church  of  St.  Sernin.  Capital, 

1469.  See  also  \ 4’] 2. 

Musee  des  Beaux-Arts.  Capitals 
from  the  Abbey  de  la  Daurade, 

1 470,  1471;  capital  from  St.  Ser- 
nin (?),  1472;  Renaissance  cap- 
ital, 1793. 

TOURS 

Cathedral.  Tomb  of  the  children 
of  Charles  VI II,  2500. 

Place  du  Grand  Marche.  Fon- 
taine de  Beaune,  by  Bastien  and 
Martin  Francois,  2483. 

TROYES 

Cathedral.  Details,  1794,  1795. 

Church  of  St.  J ean.  Reliefs  of  the 
Passion,  from  the  altar  by 
Juliot  and  Girardon,  2491  A-D. 

Museum.  Bracket  from  the  Con- 
vent des  Cordeliers,  1796. 

TUBINGEN 

Museum.  Statuette  of  a charioteer, 

1 100. 


TUNIS 

Musee  du  Bardo.  Statue  of  De- 
meter, 750. 

TURIN 

Museo  delle  Antichita.  Upper 
part  of  a statuette  of  Amen- 
hetep  1,  25;  head  from  a statue 
of  Thotmes  HI,  27;  head  of  a 
statue  of  Amenhetep  II,  28; 
head  from  a statue  of  Rameses 
II,  35;  stela  with  relief  of  Ra- 
meses II  before  Hathor,  38; 
bronze  statuette  of  Athena  from 
Stradella,  533. 

PiNACOTECA.  Madonna  and  Child, 
relief  by  Desiderio,  2276. 

ULM 

Cathedral.  Panels  from  the  choir 
stalls,  1847-1849. 

VENICE 

Campo  Santi  Giovanni  e Paolo. 
Equestrian  statue  of  Colleoni, 
by  Verrocchio,  2398. 

Church  of  the  Frari.  Detail  from 
a tomb,  2040;  prophet  heads 
and  panels  from  the  choir 
screen,  2437  A-C. 

Church  of  San  Giacomo  dale’ 
Orio.  Capital,  1811. 

Church  of  San  Trovaso.  Reliefs 
of  angels  with  symbols  of  the 
Passion,  2432. 

Church  of  Santa  Maria  dei  Mira- 
COLI.  Panels  from  the  choir,  by 
Pietro  Lombardo,  2033-2035; 
panels  from  the  choir  arch, 
2036-2039. 

Church  of  Santo  Stefano.  De- 
tail, 1812. 

CoRTE  Gattei.  Fragments  of  a 
Byzantine  well-head,  1422  A,  B. 

Ducal  Palace.  Architectural  de- 
tails, 1813-1832. 

Museo  Civico.  Byzantine  corbel, 
1421. 

Museum  of  the  Marciana.  Statue 
of  a Gaul,  785. 

OsPEDALE  Civile.  Section  of  a 
column  in  the  portal,  2041. 

Piazza  di  San  Marco.  Flag  staff 
by  Leopardi,  2427. 

St.  Mark’s.  Two  of  the  bronze 
horses  from  the  facade,  1000  A, 


INDEX  BY  PLACES 


B;  Byzantine  details,  1417- 
1420. 

Miscellaneous.  Fragments  of  a 
Byzantine  frieze,  1423  A,  B; 
Gothic  mouldings,  1833,  1834. 

VERSAILLES 

Palace.  Door,  2104;  handle  of  a 
vase  by  Coyzevox,  2105;  ped- 
estal, i8th  century,  2110;  bust 
of  Voltaire,  by  Houdon,  2507; 
bust  called  Robespierre,  by 
Houdon  (?),  2508;  bust  of  Marie 
Antoinette,  by  Lecomte,  2509; 
of  Mme.  Elizabeth,  2510;  of 
Marie  Adelaide,  2511. 

VIENNA 

Benda  Collection.  Bust  of  a 
child  laughing,  by  Desiderio, 
2272. 

Imperial  Museum.  Portion  of  a 


343 

Greek  sarcophagus,  655;  the 
Vienna  cameo,  1018. 

WINCHESTER 

Cathedral.  Baptismal  font,  1556. 

WORKSOP 

Priory  Church.  Capital,  1557. 

WURZBURG 

Cathedral.  Knocker,  1527.  See 
also  1 525,  1 526. 

YORK 

Minster.  Capitals,  1558,  1559,  1915, 
1916. 

YPRES 

Hotel  de  Ville.  Corbels,  1867, 
1868. 

Miscellaneous.  Gothic  bases, 
1869-1871. 


GENERAL  INDEX 


UNLESS  OTHERWISE  SPECIFIED,  THE  NUMBERS 
GIVEN  REFER  TO  THE  CASTS,  NOT  TO  THE  PAGES. 


Abraham’s  sacrifice,  relief  by  Brun- 
elleschi, in  the  Bargello,  2252; 
relief  on  the  Baptistery  doors, 
Florence,  2306;  relief  by  Ghi- 
berti, in  the  Bargello,  2309;  in 
the  Rosary  by  Veit  Stoss,  in  Nu- 
remberg, 2531. 

Abundance,  statuette  by  Prieur,  in 
the  Louvre,  2499. 

Achilles,  the  Borghese,  in  the  Louvre, 
605. 

Actor,  statuette  of  a tragic,  in  Paris, 
1 164. 

Adam  and  Eve,  in  the  Rosary  by 
Veit  Stoss,  in  Nuremberg,  2551. 

Adams  collection  of  Herculaneum 
bronzes,  p.  161. 

Adonis,  the  wounded,  by  Michel- 
angelo (?),  in  the  Bargello,  2328. 

Adoration  of  the  Magi,  on  the  Ro- 
manesque tympanum  at  Frei- 
berg, 1479;  relief  by  Ghiberti 
from  the  Baptistery  door,  Flor- 
ence, 2307  E.  See  also  Christ, 
scenes  from  the  life  of. 

Adrasteia  (?),  on  the  Pergamon  altar 
frieze,  794. 

Aegina  pediments,  sculptures  from, 
in  Munich,  408-427;  models  of, 
426  A,  B. 

Aertsz,  fan  Terwen,  wood-carver, 
2174. 

Aeschines.  See  Aischines. 

Aesop,  head  and  torso,  in  the  Villa 
Albani,  896. 

Africanus,  P.  Cornelius  Scipio,  bust 
in  the  Capitoline  Museum,  964. 

Agamemnon,  on  a relief  from  Sam- 
othrake,  in  the  Louvre,  371. 


Agasias,  sculptor,  846. 

Agathokles  stele,  in  Athens,  620. 

Agathon  and  Sosikrates,  stele  of,  in 
the  Kerameikos,  668. 

Agesander,  sculptor,  843. 

Agnes  of  Burgundy,  effigy  of,  by 
Jacques  Morel,  in  Souvigny, 
2493  B. 

Agriculture,  a panel  by  A.  Pisano, 
on  the  Campanile,  Florence, 
1801. 

Agrippa,  Baths  of,  in  Rome,  section 
of  the  entablature  of,  1273. 

Marcus  Vipsanius,  bust  in  the 
Louvre,  972. 

Agrippina,  so  called,  head  in  the 
British  Museum,  977;  the  elder, 
so  called,  seated  statue  in  the 
Capitoline  Museum,  980;  so 
called,  bronze  bust  in  Naples, 
1044. 

Ahumarazda,  image  of,  on  a relief 
in  Persepolis,  187, 

Aigaion,  on  the  Pergamon  altar 
frieze,  797. 

Aischines,  statue  in  Naples,  774. 

Akropolis,  model  of  the,  475. 

Akroterion  from  the  Temple  of 
Aegina,  in  Munich,  427;  a grave 
monument,  in  Athens,  63 1 ; from 
Sunion,  in  Athens,  1195; 
the  Parthenon,  1197-1200. 

Aktaion  attacked  by  his  hounds, 
group  in  the  British  Museum, 

844. 

Alessi,  Galeazzo,  sculptor,  bust  of 
G.  G.  Visconti,  in  Pavia,  2417  B. 

Alexander,  the  dying,  so  called,  in 
the  Uffizi,  806;  the  Great,  por- 


GENERAL  INDEX 


trait  (?)  on  a cameo,  in  St. 
Petersburg,  889;  bust  in  the 
Louvre,  904;  (?)  head  of,  as  a 
youth,  in  the  British  Museum, 
905. 

Alkaios  and  Sappho  (?),  on  a relief 
from  Melos,  in  the  British 
Museum,  387. 

Alkamenes,  sculptor,  469,  568. 

Alkestis,  on  a drum  from  Ephesos 
in  the  British  Museum,  737. 

Alkibiades  (?),  bust  of,  in  the  Vati- 
can, 583. 

Alkyoneus,  on  the  Pergamon  altar 
frieze,  800. 

Altar  at  Pergamon,  reliefs  from, 
791-802;  female  head  from,  803; 
capital  from,  1258;  section  of  a 
round,  in  Athens,  888;  the  Bor- 
ghese,  in  the  Louvre,  994;  from 
Ostia,  in  the  Museo  delle  Terme, 
1007;  round,  in  the  Louvre, 
1008;  square,  in  Dresden,  1009; 
details  from  the,  by  Donatello, 
in  Padua,  2282  A-L 

Altar-piece  by  Mino  da  Fiesole,  in 
Fiesole,  2347;  the  Trenta,  by  J. 
della  Quercia,  in  Lucca,  2356. 

Altoviti,  Oddo,  detail  of  the  sarcoph- 
agus of,  by  Benedetto  da  Ro- 
vezzano,  in  Florence,  2249. 

Alxenor,  sculptor,  384. 

Amadeo,  Giovanni  Antonio,  archi- 
tect and  sculptor,  p.  298;  de- 
tails from  the  Certosa  at  Pavia, 
2017-2020;  death  scenes  of 
Egyptian  martyrs,  in  Cremona, 
2412  A-G.  See  also  2417  A. 

Amazons.  Statues:  wounded,  in 
Berlin,  589;  ditto,  in  Lansdowne 
House,  590;  the  Mattei,  in  the 
Vatican,  606;  in  the  Capitoline 
Museum,  607;  from  Epidauros, 
in  Athens,  683-684;  a dead,  in 
Naples,  790. 

Statuette:  from  Salamis,  in  Dres- 
den, 582. 

Busts:  in  the  British  Museum,  591 ; 
from  Epidauros,  in  Athens,  685; 
bronze,  in  Naples,  1025. 

Reliefs:  on  a copy  of  the  shield  of 
Athena  Parthenos,  540;  on  the 
Phigaleian  frieze,  553;  head  on 
an  Argos  metope,  595;  on  a sar- 
cophagus in  Vienna,  655;  on  the 
Mausoleum  frieze,  740;  frieze 


345 

from  a sarcophagus,  in  the 
British  Museum,  95 1. 

Amboise,  Cardinal  George  d’,  details 
of  the  tomb  of,  in  Rouen  Cathe- 
dral, 2102  A-F. 

Ameinokleia,  stele  of,  in  Athens, 
634. 

Amenemhat,  seated  statuette  of,  in 
the  British  Museum,  22. 

Amenertais,  statue  of  Queen,  in 
Cairo,  42. 

Amenhetep  1,  upper  part  of  a statu- 
ette of,  in  Turin,  25;  11,  head  of 
a statue  of,  in  Turin,  28;  111, 
statue  of,  found  at  Thebes,  in 
the  British  Museum,  29. 

Amphitrite,  torso  on  the  Parthenon 
pediment,  489;  wedding  pro- 
cession of,  reliefs  in  Munich, 
871. 

Amphora,  from  the  Palace  of  Knos- 
sos,  in  Candia,  282;  from  a 
grave  monument,  in  Athens, 
060. 

Amphotto,  stele  of,  in  Athens,  625. 

Amytos,  head  from  Lykosoura,  in 
Athens,  823. 

Anakreon,  so  called,  seated  statue  in 
Copenhagen,  891. 

Andromeda  and  Perseus,  relief  by 
Cellini,  in  the  Bargello,  2255. 

Andros,  Hermes  from,  in  Athens, 
707- 

Angels,  kneeling,  by  Civitali,  in 
Lucca,  2261  A,  B;  ditto,  by 
Veit  Stoss,  in  Nuremberg,  2354. 

Anguier,  Francois,  sculptor,  p.  309; 
reliefs  from  the  monument  of 
Henry,  Duke  of  Longueville,  in 
the  Louvre,  2504  A-D. 

Anne  de  Montmorency,  statuette 
from  the  tomb  of,  by  Prieur,  in 
the  Louvre,  2499. 

Annunciation,  Gothic  relief  from  a 
lintel  in  Chartres  Cathedral, 
1697;  relief  by  Ghiberti  from 
the  Baptistery  door,  Florence, 
2307  D;  relief  by  Andrea  della 
Robbia,  in  Florence,  2359;  re- 
liefs from  the  altar  in  S.  M.  del 
Popolo,  Rome,  2425.  See  also 
Christ,  scenes  from  the  Life  of. 

Antaeus  and  Hercules,  model,  by 
Antonio  Pollaiuolo,  in  the  Bar- 
gello, 2353. 

Antef,  offering-stela  of,  in  Cairo.  21. 


GENERAL  INDEX 


346 

Antefix,  a Gorgon’s  head,  in  Olympia, 
1182;  ditto,  in  Athens,  1183; 
from  the  Parthenon,  1202; 
Greek,  1249;  Roman,  1376-1388. 

Antenor,  sculptor,  447,  448. 

Antinous,  statue,  in  the  Capitoline 
Museum,  984;  head,  in  the  Brit- 
ish Museum,  985;  fragment  of 
a relief,  in  the  Villa  Albani,  986. 

Antiocheia  by  Eutychides,  copy,  in 
the  Vatican,  838. 

Antonia  (?),  bust  of,  in  the  British 
Museum,  974. 

Antoninus  Pius,  bust,  in  the  British 
Museum,  987;  and  Faustina, 
temple  of,  in  Rome,  section  of 
the  cymatium  of,  1333. 

Aphrodite.  Statues:  so-called  Ve- 
nus Genetrix  in  the  Louvre, 
568;  of  Arles,  in  the  Louvre, 
695;  of  Ostia,  in  the  British 
Museum,  696;  of  Knidos,  copy, 
in  the  Vatican,  697;  ditto,  in 
Munich,  698;  of  Melos,  in  the 
Louvre, 745 ; of  Capua,  in  Naples, 
746;  Anadyomene,  in  the  Vati- 
can, 748;  in  the  bath,  in  the 
Louvre,  8i6;  ditto,  in  the  Vati- 
can, 817;  of  the  Capitol,  in 
Rome,  818;  torso,  in  the  British 
Museum,  819. 

Statuettes:  archaic,  in  Olympia, 
1088;  or  Nike,  in  the  British 
Museum,  1 125;  or  Dione,  in  the 
British  Museum,  1 126;  adorning 
herself,  in  Berlin,  1127;  from 
Alexandria,  in  Berlin,  1128;  in 
the  British  Museum,  1129;  ar- 
ranging her  hair,  in  the  Louvre, 
1130;  in  the  Louvre,  1131;  un- 
fastening her  sandal,  in  the 
British  Museum,  1 132;  ditto,  in 
Naples,  1133;  ditto,  in  Munich, 
1 134;  arranging  her  hair,  in  the 
Louvre,  1135;  drying  her  hair, 
in  Arolsen,  1 136;  arranging  her 
hair,  in  Arolsen,  1137;  drying 
herself,  in  Arolsen,  1138;  gird- 
ing herself,  in  Florence,  1 139. 

Busts:  (?)  from  Kythera,  in  Ber- 
lin, 400;  Knidian,  in  Berlin,  699; 
small  head,  in  Olympia,  709; 
from  the  Villa  Borghese,  in  the 
Louvre,  715;  small,  in  Berlin, 
1 140. 

Reliefs:  and  Hermes,  archaic,  in 


Munich,  389;  on  the  Parthenon 
frieze,  east  side,  530;  on  the 
Borghese  altar,  in  the  Louvre, 
994. 

Apobates  relief,  so  called,  in  Athens, 
924. 

Apollino,  the,  in  the  Uffizi,  711. 

Apollo.  Statues:  (?)  from  Melos, 
archaic,  in  Athens,  352;  (?) 
archaic,  from  Boeotia  (?),  in  the 
British  Museum,  395;  of  Tenea, 
in  Munich,  396;  the  Strangford, 
in  the  British  Museum,  429;  the 
Choiseul-Gouffier,  in  the  Brit- 
ish Museum,  460;  the  Mantuan, 
in  Mantua,  464;  of  the  Mantuan 
type,  in  the  Louvre,  465;  on  the 
Olympia  pediment,  469;  Saurok- 
tonos  of  Praxiteles,  copy,  in  the 
Vatican,  700;  the  “Apollino,” 
in  the  Uffizi,  711;  playing  the 
lyre,  in  the  Vatican,  725;  small 
bronze,  in  the  British  Museum, 
756;  resting,  in  the  Louvre,  757; 
of  the  Belvedere,  in  the  Vatican, 
813;  so  called,  by  Michelangelo, 
see  David. 

Statuettes:  archaic,  in  Olympia, 
1076,  1077;  ditto,  in  Berlin, 
1078,  1079;  ditto,  in  the  British 
Museum,  1080;  stringing  his 
bow,  in  the  British  Museum, 
1114;  similar  to  the  Apollo 
Sauroktonos,  in  Arolsen,  1115; 
in  the  British  Museum,  1116; 
by  Hans  Vischer,  in  Nuremberg, 
2562. 

Busts:  from  Boeotia,  in  Athens, 
397;  found  near  the  Olympieion, 
in  Athens,  459;  like  the  Choi- 
seul-Goulfier,  in  the  British  Mu- 
seum, 461;  from  Laurion,  in 
Athens  712;  in  the  British  Mu- 
seum, 713;  the  “Pourtales 
Apollo,”  in  the  British  Museum, 
851;  archaic  bronze,  in  Naples, 
1021. 

Reliefs:  from  Thasos,  in  the 

Louvre,  451 ; (?)  on  the  Parthe- 
non frieze,  east  side,  530;  on  the 
Phigaleian  frieze,  553:  contest 
with  Marsyas,  from  Mantineia, 
in  Athens,  703 ; on  the  Pergamon 
altar  frieze,  798;  in  the  Apoth- 
eosis of  Homer,  in  the  British 
Museum,  883;  on  a votive,  in 


GENERAL  INDEX 


Athens,  914;  and  two  muses, 
votive,  in  Athens,  915;  on  the 
shield  of  Augustus,  in  the  Vati- 
can, 969;  on  the  Borghese  altar, 
in  the  Louvre,  994;  and  Her- 
akles,  on  a pedestal  in  Dresden, 
995;  Nike  pouring  a libation  to, 
in  Berlin,  996;  ditto,  in  the 
British  Museum,  997;  on  a can- 
delabrum in  the  Vatican,  1014. 

Apollo,  Temple  of,  at  Phigaleia, 
frieze  in  the  British  Museum, 
553;  Temple  of,  at  Didyma,  de- 
tails from,  1240-1245. 

Apollonios,  son  of  Nestor,  sculptor, 
841;  son  of  Archios,  sculptor, 

1026. 

Apostles,  the  Twelve,  on  the  Porte 
de  la  Vierge  Doree,  Amiens, 
1682;  from  Rheims  Cathedral, 
1765;  statuettes  on  the  St.  Se- 
bald  monument  in  Nuremberg, 
2555- 

Apotheosis  of  Homer,  relief  in  the 
British  Museum,  883. 

Apoxyomenos  of  Lysippos,  copy,  in 
the  Vatican,  731. 

Ara  Pacis,  Rome,  fragments  from, 
in  the  Museo  delle  Terme,  1313 
A-C. 

Arabian  art,  p.  222. 

Arch  of  Titus,  relief  from,  942;  of 
Constantine,  model  of,  1 267. 

Archaic  Greek  art,  p.  35. 

Archaistic  sculptures,  p.  154. 

Archedemos,  stele  of,  in  the  Louvre, 
652, 

Archelaos,  sculptor,  883. 

Archemoros,  death  of,  detail  from, 
in  Rome,  1253, 

Archers,  relief,  in  Olympia,  404:  from 
the  Aegina  pediments,  in  Mu- 
nich, 410,  41 5. 

Archestrate,  stele  of,  in  Athens,  632; 
stele  of,  in  Leyden,  633. 

Architecture,  archaic  Greek  and 
Etruscan,  p.  180;  Greek,  fourth 
and  fifth  centuries,  p.  181;  late 
Greek,  p.  188;  Roman,  p,  190; 
Early  Christian,  p.  207;  Byzan- 
tine, p.  208;  Romanesque, 
p.  210;  Scandinavian,  p.  220; 
Saracenic,  p.  222;  Gothic, 
p.  229;  Renaissance,  p.  253. 

Archytas,  so  called,  bust  in  Naples, 

1027. 


347 

Ares,  on  the  Parthenon  frieze,  east 
side,  530;  Borghese,  in  the 
Louvre,  605;  the  Ludovisi,  in 
the  Museo  delle  Terme,  732;  re- 
lief on  the  Borghese  altar,  in  the 
Louvre,  994;  statuette,  in  the 
Louvre,  1 1 17. 

Argos,  fragments  of  sculptures  from 
the  Heraion,  593-595. 

Ariadne,  sleeping,  in  the  Vatican, 
836;  ditto,  in  Madrid,  837;  with 
Theseus  and  Dionysos,  on  a re- 
lief in  the  Vatican,  875;  with 
Dionysos  and  Silenos,  relief  in 
the  Vatican,  876. 

Aristion,  grave  stele  of,  in  Athens, 
.435- 

Aristippos,  (?)  statue  in  Rome,  894; 
stele  of,  in  Athens,  648. 

Aristogeiton  and  Harmodios,  in 
Naples,  447,  448. 

Aristokles,  sculptor,  435;  stele  of,  in 
the  British  Museum,  659. 

Aristotle,  so  called,  statue  in  Rome, 
894. 

Arkesilas,  sculptor,  568. 

Arles,  Aphrodite  of,  in  the  Louvre, 
695. 

Arrotino,  so  called,  in  the  Uffizi,  833. 

Artaxerxes  11  Mnemon,  friezes  from 
the  Palace  of,  at  Susa,  in  the 
Louvre,  197,  198. 

Artemidoros,  stele  of,  in  the  British 
Museum,  658. 

Artemis.  Statues:  of  Gabii,  in  the 
Louvre,  706;  of  Versailles,  in 
the  Louvre,  814. 

Statuette:  archaic,  in  Olympia, 
1087. 

Head: from  Lykosoura,  in  Athens, 
822. 

Reliefs:  the  Persian,  from  Olympia, 
in  Athens,  390;  on  the  Parthe- 
non frieze,  east  side,  530;  on  the 
Phigaleian  frieze,  553:  on  a vo- 
tive relief  in  Athens,  914;  on  the 
Borghese  altar  in  the  Louvre, 
994;  in  Berlin,  996;  on  the  vase 
of  Sosibios,  in  the  Louvre,  1002; 
on  the  Medici  vase,  in  the  Uffizi, 
1004. 

Artemis,  Temple  of,  at  Ephesos, 
sculptures  from,  in  the  British 
Museum,  372-375,  736-738; 

architectural  fragments  from,  in 
the  British  Museum,  1246,  1247. 


348  GENERAL  INDEX 


Arthur,  King  of  England,  statue  by 
Peter  Vischer,  in  Innsbruck, 
2558. 

Ashur-bani-pal,  reliefs  from  the 
Palace  of,  in  the  British  Muse- 
um, 1 47- 1 54. 

Ashur-nasir-pal,  reliefs  from  the 
Palace  of,  at  Nimrud,  in  the 
British  Museum,  121-143. 

Asklepios,  (?)  statue  in  Dresden,  581 ; 
on  a throne,  relief,  in  Athens, 
689;  (?)  head  in  the  British 
Museum,  762;  part  of  a statue 
of,  in  Athens,  815;  on  a votive 
relief,  in  Athens,  91 1;  ditto,  in 
the  Vatican,  912. 

Assendelfft,  Dirck  van,  detail  from 
the  monument  of,  in  Breda, 
2172. 

Assos,  sculptures  from  the  Temple 
of,  357-369. 

Assumption  of  the  Virgin,  relief  by 
Orcagna  in  Or  San  Michele, 
Florence,  1802  A. 

Assyrian  art,  p.  14. 

Athena.  Statues:  from  the  Aegina 
pediment,  in  Munich,  413;  on 
the  Parthenon  pediment,  486; 
the  Varvakeion,  in  Athens,  53 1 ; 
the  Lenormant,  in  Athens,  532; 
the  Minerve  au  Collier,  in  the 
Louvre,  534;  the  Lemnian,  in 
Dresden,  565;  the  “Minerva 
Medici,”  in  Paris,  567;  so-called 
Pallas  Giustiniani,  in  the  Vati- 
can, 571;  from  Velletri,  in  the 
Louvre,  572;  Promachos,  archa- 
istic,  in  Dresden,  991. 

Statuettes;  from  Stradella,  in 
Turin,  533;  archaic,  in  Berlin, 
1084;  Etruscan,  in  Cassel,  1085; 
archaic,  in  Paris,  1086;  in  Paris 
(?),  ! 1 1 2;  in  Naples,  1113. 

Busts:  from  the  Aegina  pediment, 
in  Munich,  423;  in  Athens,  438; 
so  called,  from  the  Parthenon, 
in  the  British  Museum,  494; 
Roman  copy,  in  Munich,  573; 
by  Euboulides  (?),  in  Athens, 
765;  on  a terracotta  antefix,  in 
Athens  (?),  1382. 

Reliefs;  the  Mourning,  in  Athens, 
463;  birth  of,  on  a puteal,  in 
Madrid,  508;  on  the  Parthenon 
frieze,  east  side,  530;  and  a god, 
relief  heading  a decree,  in 


Athens,  535;  with  a worshipper 
and  a shield  bearer,  relief  head- 
ing a decree  (?),  in  Athens,  536; 
votive,  of  a sacrifice  to,  in 
Athens,  537;  crowning  a mortal, 
in  Athens,  538;  with  a small 
Nike,  in  the  Berlin  Museum, 
539;  from  the  Temple  of  Nike 
Apteros,  549;  (?)  from  Argos, 
594;  over  a treaty,  in  Athens, 
771;  over  a decree,  in  Athens, 
772;  on  the  Pergamon  altar 
frieze,  800;  on  the  Borghese  al- 
tar, in  the  Louvre,  994. 

Athena  Nike,  see  Nike  Apteros. 

Athena  Parthenos,  colossal  statue  in 
the  Parthenon,  p.  69;  copies  of, 
531-539;  fragment  of  a copy  of 
the  shield  of,  540. 

Athenodoros,  sculptor,  843. 

Athlete,  head  of  an,  from  Perinthos, 
in  Dresden,  452;  pouring  oil  into 
his  hand,  statue  in  Munich,  563; 
similar,  in  Dresden,  564;  statue 
in  the  Polykleitan  style,  in 
Dresden,  598;  bronze  head,  in 
Munich,  600;  head,  in  Munich, 
764;  bronze  statues  in  Naples, 
1058,  1059;  archaic  statuette  in 
Cassel,  1095;  wrestling,  small 
group  in  Paris,  1157;  statuette 
of  a young,  in  Berlin,  1 1 58. 

Atlas,  on  the  Olympia  metope,  470. 

Atreus,  T reasury  of,  fragments  from, 
in  the  British  Museum,  342-344. 

Attalos  I,  statues  dedicated  by, 
782-790. 

Attic  school,  p.  49. 

Augeias,  Herakles  cleaning  the 
stable  of,  on  the  Olympia  met- 
ope, 471. 

Augustus,  head,  in  the  Vatican,  968; 
statue,  in  the  Vatican,  969; 
statue  restored  as,  in  the 
Louvre,  970;  head,  in  the  Brit- 
ish Museum,  971  ; on  the  Vienna 
cameo,  1018;  relief  by  Giovanni 
da  Maiano,  in  Hampton  Court, 
2310. 

Aumale,  the  Due  d’,  bust  by  Dubois, 
2604. 

Azara  bust  of  Alexander  the  Great, 
in  the  Louvre,  904. 

Bacchantes,  on  the  vase  of  So- 
sibios,  in  the  Louvre,  1002;  on 


GENERAL  INDEX 


a round  altar  in  the  Louvre, 
1008.  See  also  Maenads. 

Bacchus  and  faun,  group  by  Michel- 
angelo, in  the  Bargello,  2320; 
group  by  J.  Sansovino,  in  the 
Bargello,  2429.  See  also  Dio- 
nysos, 

Balbiani,  Valentine,  relief  from  the 
tomb  of,  by  Pilon,  in  the  Louvre, 
2497. 

Bambaia,  sculptor,  p.  298;  effigy  and 
reliefs  from  the  tomb  of  Gaston 
de  Foix,  in  Milan,  2415  A-J. 

Barbe  of  Hottenheim,  bust  by 
Nicolas  von  Leyden,  2547. 

Barberini  Hera,  head  of  the,  in  the 
Vatican,  570;  Faun,  so  called,  in 
Munich,  830. 

Barye,  Antoine  Louis,  sculptor, 
p.  317;  a lion  crushing  a ser- 
pent, in  Paris,  2600. 

Base  of  a candelabrum,  in  the  Brit- 
ish Museum,  1016. 

Basilica  Ulpia,  Rome,  frieze  frag- 
ments from,  in  the  Lateran 
Museum,  1300,  1301. 

Bassae,  see  Phigaleia. 

Basso,  Girolamo,  panels  from  the 
tomb  of,  in  Rome,  2025  A-G. 

Baudry,  Paul,  bust  of,  by  Dubois, 
2605. 

Beatrice  d’Este,  head  by  Solario  in 
Pavia,  2419  B;  of  Aragon,  re- 
lief by  Verrocchio,  in  Berlin, 
2403. 

Beau  Dieu  d’Amiens,  1681. 

Beaune,  Fontaine  de,  in  Tours,  2483. 

Bellano,  Bartolommeo,  sculptor, 
p.  301;  relief  of  St.  John  the 
Evangelist  and  his  school,  in 
Berlin,  2426. 

Bellerophon,  on  a relief  from  Melos, 
in  the  British  Museum,  386. 

Belvedere,  Hermes  of  the,  in  the 
Vatican,  708;  Apollo  of  the,  in 
the  Vatican,  813;  torso  of  the, 
in  the  Vatican,  841. 

Benedetto  da  Maiano,  sculptor, 
p.  272:  doorway  in  the  Palazzo 
Vecchio,  Florence,  2014;  pulpit 
in  Santa  Croce,  Florence,  2241; 
Madonna  and  Child,  in  the 
Misericordia,  2242;  St.  John  the 
Baptist,  in  the  Bargello,  2243; 
bust  of  Pietro  Mellini,  in  the 
Bargello,  2244;  bust  of  Filippo 


349 

Strozzi,  in  the  Louvre,  2243; 
Madonna  and  Child,  relief  in 
S.  M.  Novella,  2246;  ditto,  in 
San  Gimignano,  2247;  reliefs  of 
the  Evangelists,  in  Siena,  2248 
A-D. 

Benedetto  da  Rovezzano,  sculptor, 
. 273;  details  of  an  altar  in 
anta  Trinita,  Florence,  201 1 
A,  B;  niche  from  the  Palazzo 
Cepparello,  in  the  Bargello, 
Florence,  2013;  detail  of  the 
sarcophagus  of  Oddo  Altoviti, 
in  Florence,  2249. 

Berenice,  so  called,  bronze  bust,  in 
Naples,  1035. 

Bertini,  Count  Domenico,  bust  by 
Civitali,  in  Lucca,  2258. 

Bertoldo  di  Giovanni,  sculptor, 
p.  273;  relief  of  the  Crucifixion, 
in  the  Bargello,  2250;  Lamenta- 
tion over  the  body  of  Christ,  in 
the  Bargello,  2251. 

Bertrand  de  Goth,  Archbishop, 
statue  on  a pier,  in  Bordeaux 
Cathedral,  1692. 

Birth  of  Athena,  on  a puteal,  in 
Madrid,  508;  of  Erichthonios, 
archaic  relief,  in  Berlin,  444. 

Black  Obelisk,  from  Nimrud,  in  the 
British  Museum,  144. 

Boar  hunt,  relief  from  Melos,  in  Ber- 
lin, 466. 

Boat,  prow  of,  with  head  of  Hathor, 
in  the  British  Museum,  30. 

Borghese  Achilles  or  Ares,  in  the 
Louvre,  605;  satyr,  in  Rome, 
831;  warrior,  in  the  Louvre, 
846;  altar,  in  the  Louvre,  994; 
vase,  in  the  Louvre,  1003. 

Borgnival,  Count,  monument  of,  in 
Breda,  2171. 

Boundary  stone,  Chaldaean,  in  the 
British  Museum,  107. 

Bowls,  prehistoric  Greek,  from  the 
Palace  of  Knossos,  in  Candia, 
271-276;  with  reliefs,  unidenti- 
fied, 1 172. 

Boxer  resting,  in  Rome,  842. 

Boy.  Classic:  statue  of  the  Transi- 
tional Period,  in  Athens,  450; 
drawing  a thorn  from  his  foot, 
in  Rome,  456;  bronze  statue,  in 
Berlin,  602;  the  praying,  so 
called,  in  Berlin,  735;  headless 
statue,  in  the  British  Museum, 


GENERAL  INDEX 


350 

759;  figure  from  a group  of  two 
quarreling,  in  the  British  Mu- 
seum, 847;  struggling  with  a 
goose,  in  Munich,  849;  statue  of 
acamillus,  in  Rome,  939;  sleep- 
ing, in  Dortmund,  1163. 

Renaissance:  bust  of  a,  by  Desi- 
derio,  in  the  Bargello,  2270; 
with  a fish,  by  Verrocchio,  in 
Florence,  2400;  on  a globe,  by 
Verrocchio,  in  Paris,  2401. 

Bracciolini,  Poggio,  so  called,  head 
by  Donatello,  in  Florence, 
2289. 

Bracelet,  in  the  form  of  a serpent, 
in  Berlin,  1 170. 

Bramante,  architect,  2023. 

Branchidae,  sculptures  from,  in  the 
British  Museum,  353-356. 

Bregno,  Andrea,  sculptor,  p.  300; 
tomb  of  Cristoforo  della  Rovere, 
in  Rome,  2420;  tabernacle,  in 
Berlin,  2421. 

Brescia,  Nike  of,  747. 

Briosco,  Benedetto,  sculptor,  p.  298; 
portrait  heads  in  the  Certosa  at 
Pavia,  2413,  2414. 

Bronzes  from  Herculaneum,  1019- 
1069. 

Brunelleschi,  Filippo,  sculptor, 
p.  274;  Abraham's  sacrifice,  in 
the  Bargello,  2252;  arms  of  the 
Spinelli,  in  Santa  Croce,  2253; 
bust  from  the  death  mask  of, 
by  Buggiano,  in  Florence,  2254. 

Bruni,  Leonardo,  head  of  the  effigy 
of,  by  Bernardino  Rossellino, 
in  Florence,  2396. 

Brutus,  Lucius  Junius,  so  called, 
bust,  in  Rome,  961;  Marcus 
Junius  (?),  bust,  in  the  Capito- 
line  Museum,  962;  bust,  by 
Michelangelo,  in  the  Bargello, 
2331. 

Bryaxis,  sculptor,  see  739-744. 

Buggiano,  Andrea,  sculptor,  p.  274; 
bust  of  Brunelleschi  from  his 
death  mask,  in  Florence,  2254. 

Bull,  Assyrian,  129,  130;  prehistoric 
Greek,  head  of,  in  Candia,  279; 
Cretan,  on  the  Olympia  metope, 
473;  statuette  of  a,  in  Arolsen, 

1 166. 

Bullant,  Jean,  architect,  2054-2058, 
2086  -2089,  2096-2099. 

Byzantine  art,  p.  208. 


Caesar,  Julius,  head,  in  the  British 
Museum,  965;  statue,  on  the 
tomb  of  Engelbert  II,  in  Breda, 
2580. 

Caffieri,  Jean  Jacques,  sculptor, 
p.  309;  bust  of  Rousseau,  in 
Paris,  2505. 

Cain  slaying  Abel,  relief  on  the 
Baptistery  doors,  Florence, 
2306;  in  the  Rosary  by  Veit 
Stoss,  in  Nuremberg,  2551. 

Calendar,  Athenian,  reliefs  repre- 
senting, in  Athens,  887. 

Cameo,  sardonyx,  in  St.  Petersburg, 
889;  the  Paris,  1017;  the 
Vienna,  1018. 

Camillus,  statue  of  a,  in  Rome,  939. 

Campana  Collection,  terracotta  re- 
liefs from,  two  seated  women 
among  arabesques,  1365;  a 
winged  figure  among  ara- 
besques, 1367;  bearded  masks 
and  dolphins,  1369;  Renais- 
sance panels,  2083-2085. 

Candelabrum,  with  Maenads,  in  the 
Louvre,  1013;  with  Herakles 
and  Apollo,  in  the  Vatican, 
1014;  with  reliefs  of  Erotes,  in 
the  Vatican,  1015;  on  a Roman 
frieze  in  the  Louvre,  1317;  on  a 
Roman  pilaster,  1318;  Roman, 
in  Naples,  1354;  on  a terracotta 
relief  in  the  British  Museum, 
1361;  by  Michelangelo  (?),  in 
Florence,  2334. 

Canephori,  on  a terracotta  relief  in 
the  British  Museum,  1361. 

Canopus,  decree  of,  in  Cairo,  52. 

Canova,  Antonio,  sculptor,  p.  304; 
group  of  Cupid  and  Psyche  in 
Cadenabbia,  2438. 

Cantoria,  reliefs  from  the,  by  Dona- 
tello, in  Florence,  2297  A-C; 
by  Luca  della  Robbia,  in  Flor- 
ence, 2371. 

Capitol,  Venus  of  the,  in  Rome,  818; 
Wolf  of  the,  in  Rome,  999. 

Captives,  Asiatic,  taken  by  Rameses 
I II,  reliefs,  inThebes,  41 ; bound, 
statues  by  Michelangelo,  in  the 
Louvre,  2317,  2318. 

Capua,  Venus  of,  in  Naples,  746;  so- 
called  Psyche  from,  in  Naples, 
75'- 

Caradosso,  sculptor,  p.  299;  detail  of 
a frieze  in  Milan,  2416. 


GENERAL  INDEX 


35^ 


Caryatides,  see  Karyatides. 

Castor,  Temple  of,  in  Rome,  section 
of  the  entablature  and  capital, 
1268;  models  of  a capital  and 
base,  ! 269.  See  also  Kastor. 

Cecrops,  see  Kekrops. 

Centaurs:  on  a metope  from  Assos, 
in  the  Louvre,  358;  on  a frieze 
from  Assos,  in  Boston,  362; 
ditto,  in  the  Louvre,  363,  364; 
on  a relief  from  Olympia,  in 
Athens,  390;  statues,  on  the 
Olympia  pediment,  469;  on  the 
Parthenon  metopes,  512-528; 
on  the  Phigaleian  frieze,  553; 
on  a relief  from  a Roman  cippus, 
in  the  Vatican,  948;  and  Eros, 
relief,  in  the  Capitoline  Museum 
(?),  953;  on  a relief  by  Michel- 
angelo, in  Florence,  2332. 

Centocelle,  Eros  from,  in  the  Vati- 
can, 704. 

Cerdo,  Marcus  Cossutius,  sculptor. 


597- 

Ceres,  see  Demeter. 

Chabot,  Philippe  de,  tomb  of,  in  the 
Louvre,  2502. 

Chairestratos,  sculptor,  810. 
Chaldaean  art,  p.  13. 

Chares,  archaic  statue  of,  from  Bran- 
chidae,  in  the  British  Museum, 


353- 

Charioteer,  of  Delphi,  in  Delphi, 
462;  on  the  Mausoleum  frieze, 
741;  statuette  in  Tubingen, 
1 100. 

Charles  1,  Duke  of  Bourbon,  effigy 
by  Morel,  in  Souvigny,  2493  A; 
Vll  1,  tomb  of  the  children  of,  in 
Tours,  2500;  IX,  bust  by  Pilon, 
in  the  Louvre,  2495. 

Chest,  sepulchral,  of  Cornelia  Ser- 
vanda, in  the  British  Museum, 
1010;  of  Vernasia  Cyclax,  in  the 
British  Museum,  loii;  of  Silia 
Attica,  in  the  British  Museum, 


1012. 

Chiaramonti  Niobid,  so  called,  in 
the  Vatican,  728. 

Chigi  collection,  athlete  from  the,  in 
Dresden,  564:  head  of  the  Dia- 
dumenos,  in  Dresden,  588. 

Child,  bronze  statuette.  Roman,  in 
the  Louvre  (?),  1 162;  bust  of  a, 
by  Desiderio,  in  the  Dreyfus 
Collection,  2271;  bust  of  a 


laughing,  by  Desiderio,  in  Vien- 
na, 2272.  See  also  Boy. 

Chimaera,  on  a relief  from  Melos, 
in  the  British  Museum,  386; 
Gothic,  on  a pedestal  in  Senlis 
Cathedral,  1790. 

Choir  screen,  in  HiJdesheim,  1501, 
1502;  in  Enkhuizen,  2174  A-V. 

Choir  stalls:  details  from  Loccum 
Cathedral,  1503,  1504;  details 
from  Amiens  Cathedral,  1683- 
1687;  niche  from  Siena  Cathe- 
dral, 2029;  from  Gaillon,  in  St. 
Denis,  2064. 

Choiseul-Gouffier  Apollo,  in  the  Brit- 
ish Museum,  460. 

Choragic  monument  of  Lysikrates, 
in  Athens,  1237-1239;  of  Thra- 
syllos,  in  Athens,  detail,  1252. 

Christ:  before  Caiaphas,  on  the  door 
of  Santa  Sabina,  Rome,  1404; 
healing  a woman,  on  an  Early 
Christian  sarcophagus  in  the 
Lateran  Museum,  1406;  statue 
in  the  porch  of  the  Cathedral  at 
Amiens,  1681;  at  the  Last  Sup- 
per, Bordeaux  Cathedral,  1692; 
the  risen,  statue  by  Michelan- 
gelo, in  Rome,  2324:  meeting 
with  St.  Veronica,  by  Adam 
Krafft,  in  Nuremberg,  2543; 
betrayal  of,  by  Veit  Stoss,  in 
Nuremberg,  2552. 

Child:  small  statue  by  Desiderio, 
in  San  Lorenzo,  Florence,  2279; 
on  an  altar-piece  by  Mino  da 
Fiesole,  in  Fiesole,  2347;  bust 
by  A.  Rossellino,  in  St.  Peters- 
burg, 2393;  bust  by  A.  Rossel- 
lino, in  Florence,  2394;  relief 
by  A.  Rossellino,  in  the  Louvre, 
2395. 

Scenes  from  the  Life  of:  on  a Ro- 
manesque doorway  in  Clermont- 
Ferrand,  1449;  on  the  “Easter 
column  ” in  Hildesheim  cathe- 
dral, 1497;  in  the  tympanum  in 
Milan  Cathedral,  1803;  on  the 
Siena  pulpit,  1810;  reliefs  by 
Ghiberti,  from  the  Baptistery 
door,  Florence,  2307  D-1;  re- 
liefs by  Jacopo  della  Quercia,  in 
Bologna,  2358  E;  by  Veit  Stoss, 
in  Nuremberg,  2550  C-F;  in  the 
Rosary  by  Veit  Stoss,  in  Nu- 
remberg, 2551. 


GENERAL  INDEX 


352 

Scenes  from  the  Passion  of:  on  the 
choir  stalls  a,t  Amiens,  1683, 
1684;  by  Giovanni  da  Bologna, 
in  Florence,  2423  A,  B;  on  an 
altar  by  Juliot  and  Girardon, 
in  Troyes,  2491  A-D. 

Crucifixion;  on  a Gothic  altar  fron- 
tal in  the  Cluny  Museum,  1787; 
relief  by  Bertoldo  di  Giovanni, 
in  the  Bargello,  2250;  crucifix, 
by  Donatello,  in  Padua,  2282  A; 
relief  by  Donatello,  in  the  Bar- 
gello, 2299. 

Pieta:  relief  by  Bertoldo  di  Gio- 
vanni, in  the  Bargello,  2251; 
relief  by  Donatello,  in  Padua, 
2282  H;  group  by  Michelangelo, 
in  St.  Peter’s,  2322;  ditto,  in 
Florence,  2327;  relief  in  Genoa, 
by  a pupil  of  Michelangelo, 
2337;  relief  by  Adam  Krafft,  in 
Nuremberg,  2544;  group,  Nu- 
remberg school,  in  Nuremberg, 
2563. 

Entombment:  relief  by  Dona- 

tello, in  Padua,  2282  F;  relief  by 
Verrocchio,  in  Berlin,  2407. 

Resurrection:  relief  by  Luca  della 
Robbia,  in  Florence,  2376;  re- 
lief on  the  tomb  of  the  Bishop 
of  Fiesole,  by  Luca  della  Rob- 
bia, in  Florence,  2373. 

Cibo,  Teodorina,  bust  of,  by  Ro- 
mano, in  Berlin,  2418. 

Cicero,  bust,  in  Madrid,  963;  Johann, 
of  Brandenburg,  tomb  of,  by 
Peter  Vischer,  in  Berlin,  2556. 

Cinerary  urn,  Etruscan,  in  Berlin, 
1175;  Italic,  in  Berlin,  1176; 
Italic,  unidentified,  1177. 

Cippus,  in  the  form  of  an  altar,  in 
the  Vatican,  1336;  in  the  Louvre, 
1337;  in  the  shape  of  a roof 
with  female  heads,  1393. 

Civitali,  Matteo,  sculptor,  p.  275; 
head  of  St.  Regulus,  in  Lucca, 
2257;  bust  of  Count  Domenico 
Bertini,  in  Lucca,  2258;  relief  of 
a lady  of  Lucca,  in  the  Bargello, 
2259;  relief  of  St.  Romanus,  in 
Lucca,  2260;  kneeling  angels, 
in  Lucca,  2261  A,  B;  Faith,  in 
the  Bargello,  2262;  Madonna 
delleTosse,  in  Lucca,  2263;  de- 
tail of  ornament  from  the 
Cathedral,  Lucca,  2264. 


Clytie,  see  Klytie. 

Colleoni,  equestrian  statue  of,  by 
Verrocchio,  in  Venice,  2398. 

Colombe,  Michel,  sculptor,  p.  305; 
St,  George  and  the  Dragon,  re- 
lief, in  the  Louvre,  2481;  detail 
from  the  tomb  of  Franfois  II, 
Duke  of  Brittany,  in  Nantes, 
2482.  See  also  2500. 

Column  of  Trajan,  relief  on,  943; 
sections  of  moulding  from,  1327, 
1328. 

Concord,  Temple  of,  in  Rome,  sec- 
tion of  the  entablature  of,  1271 ; 
section  of  a base  from,  1288. 

Constantine,  model  of  the  arch  of, 
1267. 

Corinthian  War,  monument  of  the 
Athenians  who  fell  in  the,  662. 

Cornelia  Servanda,  sepulchral  chest 
of,  1010. 

Coronation  of  the  Virgin,  from  the 
exterior  of  Notre-Dame,  Paris, 
i?33i  by  Andrea  della  Robbia, 
in  Siena,  2366;  with  Saints,  by 
the  della  Robbia  school,  in 
Florence,  2379;  by  Veit  Stoss, 
in  Nuremberg,  2550  G;  by  Peter 
Vischer,  in  Erfurt,  2^^. 

Cosmato  work  in  the  Cloister  of  San 
Giovanni  in  Laterano,  Rome, 
^ '437- 

Coyzevox,  Antoine,  sculptor,  2105. 

Cozzarelli,  Giacomo,  architect,  2031. 

Creation,  relief  on  the  Baptistery 
doors,  Florence,  2306;  of  Eve, 
relief  by  Jacopo  della  Quercia  in 
Bologna,  2358  C;  ditto,  in  the 
Rosary  by  Veit  Stoss,  in  Nu- 
remberg, 2551. 

Cretan  bull,  on  the  Olympia  metope, 

473- 

Cronaca,  architect,  2008,  2009. 

Crucifixion  of  Christ,  see  Christ, 
Crucifixion;  and  Christ,  Scenes 
from  the  Passion  of. 

Cumae,  statue  of  a goddess  from,  in 
St.  Petersburg,  753. 

Cupid.  Greek,  see  Eros. 

Roman:  relief,  on  an  altar  from 
Ostia,  1007;  on  the  base  of 
a candelabrum,  in  the  British 
Museum,  ioi6;  bronze  statues, 
in  Naples,  1060-1064;  on  a 
frieze  from  the  Basilica  Ulpia, 
1301. 


GENERAL  INDEX 


Renaissance:  French,  2106,  2107; 
statue  by  Donatello,  in  the  Bar- 
gello,  2288;  statue  by  Michel- 
angelo, in  London,  2321;  and 
Psyche,  group  by  Canova,  in 
Cadenabbia,  2438;  bronze  model 
by  Goujon,  in  Paris,  2489. 

Cups  from  the  Temple  of  Knossos, 
in  Candia,  268,  269. 

Cyclic  chorus,  relief  in  the  Akropolis 
Museum,  926. 

Cypriote  art,  p.  20. 

Cyrus,  relief  of,  a slab  on  the  plain 
of  Murghab,  181. 

Daidalos,  sculptor,  816;  and  Ikaros, 
relief  in  Rome,  884. 

Damophon,  sculptor,  821-824. 

Dancers,  on  an  archaic  relief  in  the 
British  Museum,  356;  reliefs  in 
Athens,  88 1 , 882;  bronze  statues 
in  Naples,  1051-1055;  statuette, 
Alexandrine  period,  in  St.  Ger- 
main-en-Laye,  1 1 56. 

Dancing  maenad,  in  Berlin,  828. 

Daniel,  apocryphal  legend  of,  on  a 
door  of  Sta.  Sabina,  Rome, 
1404. 

Danti,  Vincenzo,  sculptor,  p.  276; 
small  bronze  door,  in  the  Bar- 
gello,  2265. 

Darius,  reliefs  from  the  Palace  of, 
182-184,  188,  189. 

David,  statue  by  Donatello,  in  the 
Bargello,  2286;  bronze  model  by 
Donatello,  in  the  Louvre,  2300; 
and  Goliath,  relief  on  the  Bap- 
tistery doors,  Florence,  2306; 
or  Apollo,  by  Michelangelo,  in 
the  Bargello,  2325;  head  from 
the  colossal  statue,  by  Michel- 
angelo, in  Florence,  2330;  King, 
statuette  on  the  Font  at  Siena, 
2355;  statue  by  Verrocchio,  in 
the  Bargello,  2399. 

Death  of  Sokrates,  so  called,  grave 
relief  in  Athens,  645;  of  Arche- 
moros,  detail  from  the  relief  of, 
in  Rome,  1253:  and  Assumption 
of  the  Virgin,  relief  by  A.  Or- 
cagna in  Or  San  Michele,  Flor- 
ence, 1802  A. 

Decree  of  Canopus,  stela  inscribed 
with,  in  Cairo,  52. 

Deidameia,  on  the  Olympia  pedi- 
ment, 469. 


353 

Deinias  and  Philokrates,  part  of  stele 
of,  in  Athens,  669. 

Delorme,  Philibert,  architect,  2047- 
2049,  2096-2099. 

Delos,  archaic  statue  of  a woman 
from,  in  Athens,  349;  archaic 
statue  of  Nike  from,  in  Athens, 
351;  archaic  female  head  from, 
in  Athens,  370;  female  head 
from,  in  Athens,  768;  warrior 
from,  in  Athens,  805. 

Delphi,  the  charioteer  of,  in  Delphi, 
462. 

Demeter.  Statues:  on  the  Parthe- 
non pediment,  479;  colossal,  in 
the  Vatican,  566;  seated,  in  the 
British  Museum,  749;  small,  in 
Tunis,  750. 

Busts:  (?)  colossal,  in  the  Museo 
delle  Terme,  609;  head  from 
Lykosoura,  in  Athens,  821. 

Reliefs:  (?)  on  the  Parthenon 
frieze,  east  side,  530;  on  the 
Eleusinian  slab,  in  Athens,  577; 
on  the  Borghese  altar,  in  the 
Louvre,  994;  cult  of,  reliefs,  on 
a vase  in  Brunswick,  1 167. 

Demeter,  Temple  of,  at  Eleusis,  de- 
tails from,  1280,  1281. 

Demetria  and  Pamphile,  stele  of,  in 
the  Kerameikos,  636. 

Demokritos,  so  called,  bronze  bust, 
in  Naples,  1029. 

Demosthenes,  statue  in  the  Vatican, 
890;  bronze  busts  in  Naples, 
1041 , 1042, 

Deposition  from  the  Cross,  group  by 
Michelangelo,  in  Florence,  2327. 
See  also  Christ,  Pieta. 

Desiderio  da  Settignano,  sculptor, 
p.  276;  Marsuppini  monument, 
in  Florence,  2266;  bust  of  Mari- 
etta Strozzi,  in  Berlin,  2267; 
bust  of  a princess  of  Urbino,  in 
Berlin,  2268;  bust  of  a young 
woman,  in  the  Bargello,  2269; 
bust  of  a young  boy,  in  the 
Bargello,  2270;  bust  of  a child, 
in  Paris,  2271;  bust  of  a child 
laughing,  in  Vienna,  2272;  St. 
Cecilia,  in  London,  2273:  an  un- 
known man,  in  the  Bargello, 
2274;  relief  of  Madonna  and 
Child,  in  Palazzo  Panciatichi, 
Florence,  2275;  relief  of  Madon- 
na and  Child,  in  Turin,  2276; 


354 


GENERAL  INDEX 


relief  of  St.  Jerome  at  Prayer, 
in  Dorpat,  2277;  relief  of  the 
young  St.  John  adoring  the 
Christ  Child,  in  Paris,  2278; 
small  statue  of  the  Christ  Child, 
in  Florence,  2279;  Gianfigliazzi 
shield,  in  Florence,  2280. 

Dexileos,  stele  of,  in  the  Kerameikos, 
630. 

Diadumenos,  statue  from  Vaison,  in 
the  British  Museum,  586;  same, 
Farnese,  in  the  British  Museum, 
587;  Chigi  head,  in  Dresden,  588. 

Diana.  Greek,  see  Artemis. 

Roman:  on  the  shield  of  Augustus, 
in  the  Vatican,  969. 

Renaissance:  head  from  the  group 
by  Goujon,  in  the  Louvre;  with 
stag  and  hounds,  relief  by  Gou- 
jon, at  Fontainebleau,  2488. 

Diogenes,  statuette  in  the  Villa 
Albani,  897. 

Dione  (?),  statuette  in  the  British 
Museum,  1126. 

Diomedes,  so  called,  statue  in  Mu- 
nich, 610. 

Dionysiac  scene,  in  the  Ulfizi,  877; 
procession,  relief  in  Naples,  878; 
scene,  on  the  Borghese  vase,  in 
the  Louvre,  1003;  ditto,  on  a 
colossal  vase,  in  Pisa,  1006; 
theatre,  Athens,  section  of  a 
round  altar  in,  888;  throne 
from  same,  1343. 

Dionysos.  Statues:  on  the  Parthe- 
non pediment,  478;  in  the 
Museo  delle  Terme,  599;  infant, 
in  the  arms  of  Hermes,  in  Olym- 
pia, 691;  from  Sikyon,  in 
Athens,  827;  infant,  with  Sile- 
nos,  in  the  Louvre,  829. 

Statuette:  infant,  with  Hermes, 
in  the  Louvre,  1 122. 

Busts:  colossal,  from  Ikaria,  in 
Athens,  431;  Hellenistic,  in  the 
British  Museum,  855;  bronze,  in 
Naples,  1022. 

Reliefs:  (?)  on  the  Parthenon 

frieze,  east  side,  530;  infant 
in  the  arms  of  Hermes,  in  Mann- 
heim, 692;  on  the  Pergamon 
altar  frieze,  793;  (?)  on  the 
Priene  frieze,  in  the  British 
Museum,  867;  received  by  Ika- 
rios  (?),  in  the  British  Museum, 
873;  ditto,  in  Naples,  874;  and 


Ariadne,  with  Theseus,  in  the 
Vatican,  875;  ditto,  with  Sile- 
nos,  in  the  Vatican,  876;  on  the 
frieze  of  the  Choragic  Monu- 
ment of  Lysikrates,  1237;  and 
a satyr,  in  the  British  Museum, 
1337;  infant,  carried  by  a satyr 
and  a maenad,  in  the  British 
Museum,  1338. 

Dioscuri  (or  Dioskouroi),  on  a sar- 
cophagus relief,  in  the  British 
Museum,  930;  one  of  the,  statu- 
ette in  the  British  Museum, 
1147. 

Diskobolos,  Roman  copy  of  Myron’s, 
in  the  British  Museum,  360; 
restoration  from  fragments  in 
Rome,  361;  statue  in  the  Vati- 
can, 608;  archaic  statuette  in 
Olympia,  1099;  statuette  in 
Munich,  1133. 

Dolphin,  with  Eros,  in  Naples,  826. 

Domitia,  so  called,  head  in  the  Brit- 
ish Museum,  977. 

Donatello,  sculptor,  p.  277;  details 
from  the  frame  of  the  Annunci- 
ation, in  Santa  Croce,  Florence, 
2010  A,  B;  equestrian  statue  of 
Gattamelata,  in  Padua,  2281; 
sculptures  from  the  altar  in 
Sant’  Antonio,  Padua,  2282 
A-L;  statue  of  St.  George,  in 
the  Bargello,  2283;  Judith  and 
Holofernes,  in  Florence,  2284; 
bronze  statue  of  St.  John  the 
Baptist,  in  Siena,  2283;  statue 
of  David,  in  the  Bargello, 
2286;  St.  John  the  Baptist, 
in  the  Bargello,  2287;  Cupid,  in 
the  Bargello,  2288;  head  from 
the  statue  of  a prophet,  in  the 
Cathedral,  Florence,  2289;  head 
of  Jeremiah,  from  the  Cam- 
panile, Florence,  2290;  head  of 
St.  John  the  Baptist,  from  the 
same,  2291;  bust  called  the 
young  Gattamelata,  in  the  Bar- 
gello, 2292;  bust  of  Niccolo  da 
Uzzano,  in  the  Bargello,  2293; 
bust  of  Lodovico  HI  Gonzaga, 
in  Berlin,  2294;  bust  of  St. 
Lorenzo,  in  Florence,  2293;  re- 
lief of  a Roman,  in  the  Louvre, 
2296;  reliefs  from  the  Singing 
Gallery,  in  Florence,  2297  A-C; 
relief  from  the  pulpit  at  Prato, 


GENERAL  INDEX 


2298;  the  Crucifixion,  in  the 
Bargello,  2299;  David,  bronze 
model,  in  the  Louvre,  2300. 
See  also  2355. 

School  of,  Madonna  and  Child,  re- 
lief in  Siena,  2301. 

Doris,  on  the  Pergamon  altar  frieze, 
791. 

Doryphoros,  statue  after  Poly- 
kleitos,  in  Naples,  585;  bronze 
bust,  in  Naples,  1026. 

Dresden  Pallas,  archaistic  statue,  in 
Dresden,  991. 

Dubois,  Paul,  sculptor,  p.  317;  St. 
John  the  Baptist,  statue  in  the 
Luxembourg,  2601;  a Floren- 
tine singer,  in  the  Luxembourg, 
2602;  busts  of  Pasteur,  the  Due 
d’Aumale,  Baudry,  and  Parrot, 
2603-2606. 

Dying  Gaul  (or  Gladiator),  statue  in 
the  Capitoline  Museum,  782; 
Alexander,  so  called,  head  in 
the  Utfizi,  806. 


Early  Christian  art,  p.  207;  sym- 
bols, see  1402,  1403,  1405. 

“Easter  Column,”  in  the  Cathedral 
of  Hildesheim,  1497. 

Egyptian  art,  p.  3. 

Eirene  with  the  infant  Ploutos,  in 
Munich,  681. 

Eileithyia  (?),  votive  relief  to,  in  the 
British  Museum,  921. 

Elders  of  the  Apocalypse,  from  the 
central  door  of  Chartres  Cathe- 
dral, 1699,  1700. 

Electra  and  Orestes,  so  called,  group 
by  Menelaos,  in  Rome,  936. 

Eleusinian  slab,  in  Athens,  577. 

Eleusis,  copies  of  Parthenon  figures 
found  at,  in  Athens,  509-511; 
heads  of  Eubouleus  (?)  from, 
in  Athens,  693,  694;  statue  of  a 
youth  from,  in  Athens,  760. 

Elgin  marbles,  p.  62. 

Elijah,  ascension  of,  on  the  door  of 
Santa  Sabina,  Rome,  1404. 

Elisha  receiving  Elijah’s  garment, 
on  the  door  of  Santa  Sabina, 
Rome,  1404. 

Elizabeth,  Mme.,  bust  of,  in  Ver- 
sailles, 2510. 

Empress  (?),  head  of  a Roman,  in 
the  British  Museum,  977. 


355 

Engelbert  11  of  Nassau,  tomb  of, 
by  Vincitore,  in  Breda,  2580. 

English  art,  Saxon,  p,  217;  Norman, 
p.  218;  Gothic,  p.  243;  Renais- 
sance, p.  270. 

Entombment  of  Christ,  relief  by 
Donatello,  in  Padua,  2282  F; 
relief,  by  Verrocchio,  in  Berlin, 
2407.  See  also  Christ,  scenes 
from  the  Passion  of. 

Eos,  on  the  Pergamon  altar  frieze, 
.795- 

Epeios,  on  a relief  from  Samothrake, 
in  the  Louvre,  371. 

Ephesos,  sculptures  from  the  Temple 
of  Artemis  at,  in  the  British 
Museum,  736-738;  fragments 
from,  in  the  British  Museum, 
1246,  1247. 

Epicurus,  bust  in  the  British  Mu- 
seum, 902;  bronze  busts  in 
Naples,  1045,  1046- 

Epikrates,  part  of  the  stele  of,  in 
Athens,  674. 

Erechtheion,  porch  and  architec- 
tural details  from  the,  1203- 
1225. 

Erichthonios,  birth  of,  archaic  re- 
lief in  Berlin,  444, 

Erine,  part  of  the  stele  of,  in  Athens, 
675. 

Erinnys,  head  of  a sleeping,  in  the 
Museo  delle  Terme,  854. 

Eros.  Statues:  from  Centocelle,  in 
the  Vatican,  704;  with  the  Lu- 
dovisi  Ares,  in  the  Museo  delle 
Terme,  732;  stretching  a bow,  in 
the  Capitoline  Museum,  825; 
and  a dolphin,  in  Naples,  826; 
with  Augustus,  in  the  Vatican, 
969. 

Reliefs:  archaic  fragment,  in  Mu- 
nich, 389;  on  the  Parthenon 
frieze,  east  side,  530;  in  the 
wedding  procession  of  Poseidon 
and  Amphitrite,  in  Munich,  871 ; 
and  centaur,  in  the  Capitoline 
Museum  (?),  953;  on  a cande- 
labrum in  the  Vatican,  1015; 
on  the  base  of  a Roman  pilaster 
(?),  in  the  Vatican,  1291. 

Miscellaneous:  on  the  arm  of  a 
Roman  couch,  in  the  Vatican, 
1320;  on  a Roman  table-leg  in 
Athens,  1349. 

See  also  Cupid. 


GENERAL  INDEX 


356 

Esquiline  Venus,  in  Rome,  457. 

Este,  Beatrice  d’,  bust  of,  by  Solario, 
in  Pavia,  24  iq  B. 

Etruscan  architecture,  archaic, 
p.  180;  goddess,  archaic,  in  Ber- 
lin, 1089;  winged  statuette,  in 
Berlin,  1090. 

Eubouleus,  (?)  head,  by  Praxiteles 
(?),  in  Athens,  693;  ditto,  copy, 
in  Athens,  694. 

Euboulides,  sculptor,  765. 

Eumachos,  part  of  the  stele  of,  in 
the  British  Museum,  671. 

Eumenid,  (?)  statuette  of  a,  in  Olym- 
pia, 391. 

Euripides,  bust  in  the  Vatican,  777. 

Eurydike,  on  the  Orpheus  relief  in 
the  Villa  Albani,  579. 

Eutychides,  sculptor,  838. 

Evangelists,  on  the  choir  screen  at 
Enkhuizen,  2174  B,  C;  reliefs, 
by  Benedetto  da  Maiano,  in 
Siena,  2248  A-D;  symbols  of 
the,  by  Donatello,  on  the  altar 
at  Padua,  2282  1-E;  on  the 
doors  by  Luca  della  Robbia,  in 
Florence,  2372;  reliefs  by  Gou- 
jon, in  the  Chateau  of  Chantilly, 
2487  A-D. 

Evrard  de  Fouilloy,  Archbishop, 
elfigy  in  Amiens  Cathedral, 
1689. 

Exakestes  and  Metreis,  stele  of,  in 
the  British  Museum,  651. 

Expulsion  from  Paradise,  on  the 
Baptistery  doors,  Florence, 
2306;  relief  by  Jacopo  della 
Quercia,  in  Bologna,  23^8  D;  in 
the  “ Rosary”  by  Veit  Stoss  in 
Nuremberg,  2551, 

Fain,  Pierre,  architect,  2070-2075. 

Faith,  relief  by  Civitali,  in  the  Bar- 
gello,  2262;  relief  by  Mino  da 
Fiesole,  in  Berlin,  2348.  See 
also  Virtues. 

Farnese  Diadumenos,  in  the  British 
Museum,  587;  Hera,  bust  in 
Naples,  592. 

Farnesina  reliefs,  details  from  the, 
in  Rome,  960. 

Fates,  the  Three,  on  the  Parthenon 
pediment,  481,  482;  with  the 
birth  of  Athena,  on  a puteal,  in 
Madrid,  508;  relief,  on  the  Bor- 
ghese  altar  in  the  Louvre,  994. 


Faun,  with  Bacchus,  group  by 
Michelangelo,  in  the  Bargello, 
2320;  ditto,  by  Jacopo  Sanso- 
vino, in  the  Bargello,  2429.  See 
also  Satyr. 

Faustina  the  younger,  (?)  head,  in 
the  British  Museum,  989. 

Federighi,  Antonio,  sculptor,  p.  281; 
holy-water  basin  in  Siena,  2302. 

School  of.  Madonna  and  Child, 
in  Siena,  2303. 

Federighi,  Benozzo,  tomb  of,  by 
Luca  della  Robbia,  in  Florence, 

Femme  inconnue,  so  called,  bust  by 
Laurana,  in  the  Louvre,  2312. 

Fernach,  Hans  von,  sculptor,  tym- 
panum, in  the  Cathedral,  Milan, 
1803. 

Ferrucci,  sculptor,  p.  281;  details 
from  theTartagni  monument,  in 
Bologna,  2304  A-C;  head  from 
the  effigy  of  Barbara  Manfredi, 
in  Forli,  2305. 

Fiesole,  Mino  da,  see  Mino  da  Fiesole. 

Filarete,  Antonio,  architect,  1808, 
2027. 

Flemish  art,  Romanesque,  p.  217; 
Gothic,  p.  242;  Renaissance, 
p.  268;  sculpture,  p.  316. 

Florentine  school,  bust  of  a young 
woman,  in  the  Louvre,  2408; 
bust  of  Isotta  da  Rimini,  so 
called,  in  Pisa,  2409;  Lorenzo 
de’  Medici,  bust  from  his  death- 
mask,  in  Florence,  2410;  bust  of 
Niccolo  Macchiavelli,  in  the 
Bargello,  2411. 

Florentine  singer,  statue  by  Dubois, 
in  the  Luxembourg,  2602. 

Foix,  Gaston  de,  effigy  and  reliefs 
from  the  tomb  of,  in  Milan,  241  5 

A-J- 

Font,  baptismal,  by  Jacopo  della 
Quercia  and  others,  in  Siena, 
2355- 

Forum  of  Trajan,  fragments  from, 
1300-1302;  Romanum,  section 
of  a frieze  from,  1311. 

Foscari,  Cardinal  Pietro,  tomb  of, 
in  Rome,  2428. 

Fountain  nymphs  by  Goujon,  in  the 
Louvre,  2485  A-D. 

Franciscan  Order,  scenes  from  the 
history  of,  on  the  pulpit  in 
Santa  Croce,  2241. 


GENERAL  INDEX 


Francois,  Bastien  and  Martin,  sculp- 
tors, p.  305;  Fontaine  de 
Beaune,  in  Tours,  2483. 

Francois  1,  king,  bust  in  the  Louvre, 
2503;  II,  Duke  of  Brittany,  de- 
tail from  the  tomb  of,  in  Nantes, 
by  Colombe,  2482. 

French  art,  Romanesque,  p.  21 1; 
Gothic,  p.  22q;  Renaissance, 
p.  257;  sculpture,  p.  305;  mod- 
ern, p.  317. 

Fresco,  prehistoric  Greek,  from  the 
Palace  of  Knossos,  in  Candia, 
256. 

Gabii,  Artemis  of,  in  the  Louvre, 706. 

Gaellen,  Willem  van,  tomb  tablet  of, 
Flemish  school,  in  Breda,  2383, 

Gaia,  on  the  Pergamon  altar  frieze, 
800;  (?),  on  the  Priene  frieze,  in 
the  British  Museum,  864. 

Gaillon,  Chateau  of,  choir  stall  from, 
in  the  Abbey  of  St.  Denis,  Paris, 
2064;  details  from,  in  the  Ecole 
des  Beaux-Arts,  Paris,  2070- 
2075 ; relief  of  St.  George  and  the 
Dragon  from,  by  Colombe,  in 
the  Louvre,  2481 ; bust  of  a hel- 
meted  man  from,  by  Juste,  in 
the  Louvre,  2492. 

Ganymedes,  rape  of,  group  in  the 
Vatican,  755. 

Gaspari  da  Cairano,  sculptor,  2001. 

Gaston  de  Foix,  see  Foix,  Gaston  de. 

Gattamelata,  equestrian  statue  of, 
by  Donatello,  in  Padua,  2281; 
the  young,  so  called,  bust  by 
Donatello,  in  the  Bargello,  2292. 

Gaul,  the  dying,  in  the  Capitoline 
Museum,  782;  and  his  wife,  in 
the  Museo  delle  Terme,  783;  a 
dying,  in  Naples,  784;  an 
elderly,  in  Venice,  785 ; a young, 
in  the  Louvre,  786;  head  of  a,  in 
the  British  Museum,  859. 

Gemma  Augustea,  1018. 

Geoff roy  d’Eu,  Bishop,  effigy  in 
Amiens  Cathedral,  1688. 

German  art,  Romanesque,  p.  214; 
Gothic,  p.  241;  Renaissance, 
p.  265;  sculpture,  p.  31 1. 

Ghiberti,  Lorenzo,  sculptor,  p.  282; 
east  doors  of  the  Baptistery, 
Florence,  2306;  frame  and  de- 
tails of  the  north  door,  2307 
A-1;  reliefs  from  the  reliquary 


357 

of  St.  Zenobius,  in  Florence, 
2308  A-D;  Abraham’s  sacrifice, 
in  the  Bargello,  2309.  See  also 

2355-  . . ... 

Gianfigliazzi  shield,  by  Desiderio,  in 
Florence,  2280. 

Giants,  on  the  pediment  of  the 
Treasury  of  the  Megarians,  in 
Olympia,  401 ; on  the  Pergamon 
altar  frieze,  791,  792,  796,  797, 
799-801 ; head,  in  the  Uffizi,  806; 
on  the  Priene  frieze,  in  the 
British  Museum,  865-867. 

Giovanni  da  Bologna,  sculptor, 
p.  301;  statue  of  Mercury,  in 
the  Bargello,  2422;  reliefs  of 
the  Scourging  of  Christ  and  the 
Bearing  of  the  Cross,  in  Flor- 
ence, 2423  A,  B. 

Giovanni  da  Maiano,  sculptor, 
p.  283;  reliefs  of  Augustus  and 
Vitellius  Caesar,  in  Hampton 
Court,  2310,  2311. 

Giovanni  di  Turino,  sculptor,  2355. 

Giovanni,  Bertoldo  di,  see  Bertoldo 
di  Giovanni. 

Girardon,  Francois,  sculptor,  p.  306; 
reliefs  of  the  Passion,  in  T royes, 
2491  A-D. 

Girl  starting  in  a race,  statue  in  the 
Vatican,  454;  playing  huckle- 
bones,  in  the  British  Museum, 
848;  portrait  statue  of  a Roman, 
in  the  Louvre,  978;  praying  (?), 
statue  in  Naples,  1056;  small 
marble  head  of  a,  in  Thebes, 
1161. 

Giuliano  da  San  Gallo,  architect, 
2008,  2009. 

Giustiniani,  Pallas,  in  the  Vatican, 
571- 

Gladiator,  the  dying,  see  Gaul,  the 
dying. 

Glorification  of  the  Virgin,  from  the 
exterior  of  Notre-Dame,  Paris, 
1734- 

Goats  butting,  from  a stele  (?),  in 
Athens,  678. 

Goddess,  (?)  head,  in  Boston,  690; 
statue  from  Cumae,  in  St. 
Petersburg,  753. 

Godl,  Stephan,  sculptor,  p.  31 1; 
Madonna  and  Child,  in  Nurem- 
berg, 2541. 

Gods  and  Giants,  battle  of  the,  on 
the  Pergamon  altar,  791-802. 


358  GENERAL  INDEX 


Gooseman,  the  little,  statuette  by 
Labenwolf,  in  Nuremberg, 
2545. 

Gorgon’s  head,  antefix  in  the  form  of 
a,  in  Olympia,  1182;  ditto,  in 
Athens,  1 183;  on  a frieze  from 
the  Temple  of  Vespasian  and 
Titus,  1338. 

Gortyna,  law  code  of,  446. 

Gothic  art,  French,  p.  229;  Italian, 
p.  237;  German,  p.  241 ; Flemish, 
p.  242;  English,  p.  243;  Spanish, 
p.  247. 

Goujon,  Jean,  sculptor,  p.  305;  re- 
liefs from  the  Chateau  d’Anet, 
2047,  2048;  reliefs  around  a 
window  of  the  Louvre,  2078; 
tablet  in  the  Hall  of  the  Cary- 
atids, in  the  Louvre,  2081 ; relief 
of  a lion,  masks,  and  a lion’s 
head,  from  the  facade  of  the 
Musee  Carnavalet,  Paris,  2086- 
2089;  door,  with  reliefs,  in  St. 
Maclou,  Rouen,  2103  A,  B;  head 
of  the  statue  of  Diana,  in  the 
Louvre,  2484;  water  nymphs 
from  the  Fontaine  des  Inno- 
cents, in  the  Louvre,  2485  A-D; 
models  of  panels  with  the  Signs 
of  the  Zodiac,  in  Paris,  2486  A- 
L;  reliefs  of  the  Evangelists,  in 
Chantilly,  2487  A-D;  relief  of 
Diana,  in  Fontainebleau,  2488; 
bronze  model  for  Cupid,  in 
Paris,  2489. 

Graces,  on  a relief  from  Thasos,  in 
the  Louvre,  45  i ; group  in  Siena, 
820;  on  a votive  relief  in  the 
Vatican,  912;  relief  on  the  Bor- 
ghese  altar  in  the  Louvre,  994; 
by  Pilon,  in  the  Louvre,  2494. 

Grave  monuments,  introduction  to, 
p.  85. 

Archaic:  the  Leukothea  relief,  in 
the  Villa  Albani,  383;  by  Alxe- 
nor,  from  Orchomenos,  in 
Athens,  384;  from  the  Esquiline, 
in  Rome,  385;  in  Sparta,  402; 
from  Chrysapha,  in  Berlin,  403; 
fragment  with  two  women,  in 
Aegina,  434;  of  Aristion,  in 
Athens,  435;  of  a warrior,  from 
Ikaria,  in  Athens,  436;  frag- 
ment with  a youth  carrying  a 
disk,  in  Athens,  439;  of  a young 
horseman,  in  Athens,  440. 


Later  periods:  stele  of  a woman, 
from  the  Esquiline,  in  Rome, 
453;  of  a man  with  his  dog,  in 
Naples,  458;  of  Vekedamos,  in 
Athens,  613;  of  Polyxene,  in 
Athens,  614;  head  of  a youth 
from  a relief,  in  Berlin,  615; 
stele  of  a youth,  in  Athens,  616; 
of  Philis,  in  the  Louvre,  617;  of 
Hegeso,  in  the  Kerameikos,  618; 
of  a man,  from  Ikaria,  in 
Athens,  619;  of  Agathokles,  in 
Athens,  620;  of  a woman,  from 
Mantineia,  in  Athens,  621;  of  a 
youth,  from  Aegina,  in  Athens, 
622;  of  a man,  from  Karystos, 
in  Berlin,  623;  of  Mynno,  in 
Berlin,  624;  of  Amphotto,  in 
Athens,  625;  fragment,  in  Lans- 
downe  House,  London,  626;  of 
a young  warrior,  in  the  Villa 
Albani,  627;  of  Xanthippos,  in 
the  British  Museum.,  628;  of 
a girl  with  a casket,  in  Ber- 
lin, 629;  of  Dexileos,  in  the 
Kerameikos,  630;  in  the  form 
of  an  akroterion,  in  Athens, 
63 1 ; of  Archestrate,  in  Athens, 
632;  of  Archestrate,  in  Leyden, 
633;  of  Ameinokleia,  in  Athens, 
634;  of  Korallion,  in  the  Keram- 
eikos, 635;  of  Demetria  and 
Pamphile,  in  the  Keram.eikos, 
636;  of  a young  hunter,  in 
Athens,  637;  of  Philino,  in 
Athens,  638;  with  a farewell 
scene,  in  Athens,  639;  of  a 
woman  with  an  oinochoe,  in 
the  Kerameikos,  640;  fragment 
of  a stele  from  Eretria,  in 
Berlin,  641;  of  a theatrical  (?) 
personage,  in  the  Peiraieus,  642; 
with  a mourning  handmaid,  in 
Berlin,  643;  in  the  form  of  a 
Molossian  hound,  in  the  Ker- 
ameikos, 644;  the  “Death  of 
Sokrates,”  in  Athens,  645;  rep- 
resenting a sepulchral  banquet, 
in  the  Peiraieus,  646;  ditto,  in 
Athens,  647;  of  Aristogeiton,  in 
Athens,  648;  in  the  form  of  a 
lekythos,  in  Athens,  649;  ditto, 
in  the  British  Museum,  650;  of 
Exakestes  and  Metreis,  in  the 
British  Museum,  65  i ; of  Arche- 
demos,  in  the  Louvre,  652;  of 


GENERAL  INDEX  359 


Kallias,  in  Athens,  653;  of  a 
warrior,  in  the  British  Museum, 
656;  of  Jason,  in  the  British 
Museum,  657;  of  Artemidoros, 
in  the  British  Museum,  658;  of 
Aristokles,  in  the  British  Mu- 
seum, 659;  section  of  an  am- 
phora, in  Athens,  660;  fragment 
with  detail  of  a loutrophoros, 
661 ; akroterion  from  the  stele  of 
those  who  fell  in  the  Corinthian 
war,  in  Athens,  662;  akroterion, 
in  Boston,  663;  akroterion,  in 
the  British  Museum,  664;  akro- 
terion of  the  stele  of  Onesicha, 
in  Athens,  665;  akroterion,  in 
the  British  Museum,  666;  ditto, 
of  Nike,  in  Athens,  667;  of  Aga- 
thon  and  Sosikrates,  in  the 
Kerameikos,  668;  part  of  the 
stele  of  Deinias  and  Philo- 
krates,  in  Athens,  669;  ditto,  of 
Mnesistrate,  in  Athens,  670; 
ditto,  of  Eumachos,  in  the 
British  Museum,  671;  ditto,  of 
Smikylion,  in  the  British  Mu- 
seum, 672;  ditto,  of  Theophile, 
in  Athens,  673;  ditto,  of  Epi- 
krates,  in  Athens,  674;  ditto,  of 
Erine,  in  Athens,  675;  ditto,  of 
Mikines,  in  Athens,  676;  ditto, 
of  Philippos,  in  Athens,  677; 
two  goats  butting,  from  a stele 
(?),  in  Athens,  678;  akroterion, 
679;  ditto,  with  palmette  and 
scrolls,  680. 

Greek  art,  prehistoric,  p.  25;  archaic, 
pp.  35,  168;  transitional  period, 
p.  52;  the  great  period,  p.  60; 
Hellenistic  period,  p.  116;  Ro- 
man period,  p.  143;  archaistic 
sculptures,  p.  i 34;  later  periods, 
statuettes,  p.  171;  architecture, 
archaic,  p.  180;  fifth  and  fourth 
centuries,  p.  181;  late,  p.  188. 

Gregory  XI 11,  Pope,  bust  of,  in 
Berlin,  2424. 

Grilfin,  an  akroterion  from  Aegina, 
in  Munich,  427;  head  of  a, 
bronze,  in  Olympia,  1103;  on 
a Roman  base,  in  the  Vatican, 
1291 ; on  a Roman  frieze,  in  the 
Louvre,  1307;  on  a cippus,  in 
the  Vatican,  1336;  on  a Byzan- 
tine panel,  in  Rome,  1413;  on  a 
Byzantine  panel,  in  St.  Mark’s, 


Venice,  1419;  on  a Byzantine 
corbel,  in  Venice,  1421. 

Gudea,  sculptures  from  the  Palace 
of,  in  the  Louvre,  ioi-io6. 

Guidarelli,  Guidarello,  tomb  of,  in 
Ravenna,  2434. 

Gundrada,  tomb  slab  of,  in  Lewes, 
1549. 

Habakkuk,  the  prophet,  on  the 
door  of  Santa  Sabina,  Rome, 
1404. 

Hadrian,  bust,  in  the  British  Mu- 
seum, 982;  Mausoleum  of,  half 
a capital  from,  in  the  Museo 
delle  Terme,  1279. 

Hair,  dedicated  to  Poseidon,  votive 
relief,  in  the  British  Museum, 
.935- 

Halikarnassos,  sculptures  from,  in 
the  British  Museum,  739-744; 
section  of  a cymatium  from,  in 
the  British  Museum,  1236. 

Hannibal,  on  the  tomb  of  Engelbert 
11  in  Breda,  2380. 

Harmodios  and  Aristogeiton,  in 
Naples,  447,  448. 

Harmony,  relief  on  the  Campanile, 
Florence,  by  Luca  della  Robbia, 
2377- 

Harpy  tomb  at  Xanthos,  reliefs 
from,  in  the  British  Museum, 
376. 

Harvesters’  vase,  from  the  Palace  of 
Hagia  Triada,  in  Candia,  234. 

Hateria,  reliefs  from  the  mausoleum 
of  the,  in  the  Lateran  Museum, 
943,946. 

Hathor,  head  of,  on  the  prow  of  a 
boat,  in  the  British  Museum,  30; 
relief  of  Rameses  1 1 before,  in 
Turin,  38;  in  the  form  of  a cow, 
protecting  Psam.tik,  from  his 
tomb  at  Sakkara,  in  Cairo,  48; 
head  of,  on  a capital  from 
Cyprus,  in  the  Louvre  (?),  213. 

Hauberrisser,  architect,  1833-1858. 

Head,  of  an  Egyptian  official,  in 
Cairo,  20;  of  an  Egyptian  statu- 
ette in  Berlin,  23;  colossal,  of 
an  Egyptian  king,  in  the  British 
Museum,  24;  of  an  Egyptian 
Queen,  in  Cairo,  32;  of  an  Egyp- 
tian priest,  in  Berlin,  46;  Chal- 
daean  male,  in  the  Louvre,  105, 
106;  Assyrian  male,  1 38;  archaic 


GENERAL  INDEX 


360 


male,  in  the  British  Museum, 
355;  archaic  female,  in  Athens, 
370;  ditto,  from  Ephesos,  in  the 
British  Museum,  374;  ditto, 
from  Boeotia,  in  Athens,  399;  of 
a youth  (or  Aphrodite?),  from 
Kythera,  in  Berlin,  400;  of  a 
bearded  warrior,  in  Olympia, 
406;  colossal,  of  a goddess,  from 
the  Ludovisi  Collection,  in 
Rome,  407;  of  a youth,  in  the 
Barracco  Museum,  Rome,  428; 
of  a warrior,  Roman  copy,  in 
Munich,  430;  of  an  athlete,  from 
Perinthos,  in  Dresden,  452; 
colossal  female,  from  the  Par- 
thenon (?),  in  the  British 
Museum,  494;  of  a youth,  in 
the  Akropolis  Museum,  576; 
bronze,  of  an  athlete,  in  Munich, 
600;  ideal  female,  in  Boston, 
690;  of  youths  from  the  pedi- 
ments at  Tegea,  in  Athens,  716- 
718;  colossal  female,  in  the 
British  Museum,  724;  of  a 
youth,  style  of  Skopas,  730; 
bearded,  from  the  Mausoleum, 
744:  female,  from  Knidos,  in  the 
British  Museum,  766;  ditto, 
from  Ostia,  in  Munich,  767; 
ditto,  from  Delos,  in  Athens, 
768;  female,  from  Pergamon,  in 
Berlin,  803;  male,  from  Tivoli, 
in  the  British  Museum,  808; 
female,  third  century,  in  Berlin, 
861;  ditto,  second  century,  in 
Berlin,  862;  ditto,  with  akan- 
thos  leaves  in  Florence,  863; 
portrait,  of  a youth,  in  Berlin, 
990;  bronze,  in  Naples,  1020; 
of  a girl,  in  Thebes,  1161. 

Hegeso,  stele  of,  in  the  Kerameikos, 
618. 

Hekate,  (?)  on  a votive  relief  in  Ber- 
lin, 918;  (?)  with  a horse  and 
dog,  on  a votive  relief  in  the 
British  Museum,  919. 

Helen  and  Menelaos,  terracotta  re- 
lief in  Rome,  1359. 

Helios,  on  the  Parthenon  pediment, 
477:  on  a metope  from  Troy,  in 
Berlin,  872. 

Hellenistic  period,  p.  1 16. 

Henri  IV,  so  called,  bust  of  as  a 
child,  by  Pilon,  in  the  Louvre, 
2496. 


Henry,  Duke  of  Longueville,  reliefs 
from  the  tomb  of,  by  Anguier, 
in  the  Louvre,  2504  A-D. 

Hephaistos,  on  the  Parthenon  frieze, 
east  side,  530;  bust  in  the  Vati- 
can, 584;  relief,  on  the  Borghese 
altar,  in  the  Louvre,  994. 

Hera,  (?)  archaic  statue  from  Samos, 
in  the  Louvre,  350;  (?)  archaic 
head,  in  Olympia,  392;  frag- 
mentary head,  from  the  Heraion 
(?),  in  Olympia,  393;  on  the 
Parthenon  frieze,  east  side,  530; 
colossal  statue,  in  the  Vatican, 
^66;  head  of  the  “ Barberini,” 
m the  Vatican,  570;  Farnese 
head,  in  Naples,  592;  (?)  head, 
from  Argos,  593;  (?)  head,  in 
the  British  Museum,  604;  (?) 
colossal  bust,  in  the  Museo  delle 
Terme,  609;  Ludovisi,  so  called, 
colossal  bust,  in  Rome,  976;  re- 
lief on  the  Borghese  altar,  in  the 
Louvre,  994. 

Heraion  of  Argos,  sculptures  from, 
593-595;  portion  of  the  cyma 
moulding  from,  in  Athens,  1230. 

Herakleitos,  so  called,  bronze  bust 
in  Naples,  1028. 

Herakles.  Statues:  from  the  Aegina 
ediment,  in  Munich,  418;  from 
ivoli,  in  Lansdowne  House, 
London,  723;  the  torso  of  the 
Belvedere,  841. 

Statuettes:  resting,  small  bronze, 
839:  with  the  apples  of  the  Hes- 
perides,  in  the  British  Museum, 
840;  archaic,  in  Cassel,  1091; 
and  the  Nemean  lion,  in  Arol- 
sen,  1092;  in  the  British  Mu- 
seum, 1141;  in  the  Louvre, 
1142;  young,  in  Naples,  1143; 
wreathed  with  poplar,  in  the 
Louvre,  1 144;  resting,  in  Lyons, 
1145;  infant,  with  a serpent,  in 
Berlin,  1146. 

Bust:  colossal,  in  the  British  Mu- 
seum, 852. 

Reliefs:  in  contest  with  Triton, 
from  Assos,  in  the  Louvre,  361; 
and  loalaos  pursuing  Centaurs, 
from  Assos,  in  Boston,  362; 
from  Olympia,  in  Athens,  390; 
(?)  as  an  archer,  in  Olympia, 
404:  labors  of,  on  the  Olympia 
metopes,  470-474:  on  the  Phi- 


GENERAL  INDEX 


galeian  frieze,  5^3;  (?)  from 
Ephesos,  in  the  British  Museum, 
736;  on  the  Pergamon  altar 
frieze,  802;  votive,  in  Athens, 
Q17;  and  Apollo,  on  a pedestal, 
in  Dresden,  995;  on  a candela- 
brum, in  the  Vatican,  1014. 

See  also  Hercules. 

Herculaneum,  history  of  excava- 
tions at,  p.  16 1 ; statue  of  a 
matron  from,  in  Dresden,  734; 
statue  of  Aischines  from,  in 
Naples,  774;  bronzes  from, 
I o 1 9- 1 069. 

Hercules  and  Antaeus,  model,  by 
Antonio  Pollaiuolo,  in  the  Bar- 
ello,  2353;  statuette  on  the  St. 
ebald  monument,  in  Nurem- 
berg, 2555.  See  also  Herakles. 

Herma,  with  Roman  copies  of  fig- 
ures from  the  Nike  balustrade, 
in  Munich,  552;  of  Herodotos 
and  Thucydides,  in  Naples,  778; 
of  Pan,  in  the  British  Museum, 
992. 

Hermann  VII I,  Count  of  Henne- 
berg,  tomb  of,  by  Peter  Vischer, 
in  Romhild,  2557. 

Hermaphrodite,  from  Pergamon,  in 
Constantinople,  804. 

Hermarchos,  bust,  in  Athens,  898; 
bronze  bust,  in  Naples,  1047. 

Hermes.  Statues;  torso  on  the 
Parthenon  pediment,  485;  of 
Praxiteles,  in  Olympia,  691; 
from  Andros,  in  Athens,  707; 
of  the  Belvedere,  in  the  Vatican, 
708;  tying  his  sandal,  in  Lans- 
downe  House,  London,  734; 
resting,  bronze,  in  Naples, 
1050. 

Statuettes:  Kriophoros,  in  Berlin, 
1081-1083;  in  Paris,  1118; 
seated,  in  Naples,  1120;  in  the 
Louvre,  1 1 19,  1121;  with  the 
infant  Dionysos,  in  the  Louvre, 
1122;  resting,  in  Berlin,  1123; 
Lysippian  type,  in  the  British 
Museum,  1124. 

Reliefs:  and  Aphrodite,  archaic, 
in  Munich,  389;  head,  from  a vo- 
tive relief,  in  Athens,  443;  from 
Thasos,  in  the  Louvre,  451;  on 
the  Parthenon  frieze,  east  side, 
530;  in  the  Villa  Albani,  579; 
copy  of  the  Hermes  of  Praxi- 


361 

teles,  in  Mannheim,  692;  on  a 
drum  from  Ephesos,  in  the 
British  Museum,  737;  on  a vo- 
tive relief,  in  the  Vatican,  912; 
on  a votive  relief,  in  Athens, 
913;  on  the  Borghese  altar,  in 
the  Louvre,  994;  on  the  vase 
of  Sosibios,  in  the  Louvre, 
1002. 

Herod,  Temple  of  at  Jerusalem,  in 
scription  from,  1394. 

Herodotos  and  Thucydides,  herma 
of,  in  Naples,  778. 

Hestia,  relief,  on  the  Borghese  altar, 
in  the  Louvre,  994. 

Hesy,  panels  from  the  tomb  of,  at 
Sakkara,  in  Cairo,  1,  2,  3. 

Hippodameia,  on  the  Olympia  pedi- 
ment, 468;  and  Pelops,  terra- 
cotta relief  in  Rome,  1360. 

Holy-water  basin,  by  Federighi,  in 
Siena,  2302. 

Homer,  apotheosis  of,  relief  in  the 
British  Museum,  883;  bust  of, 
in  the  British  Museum,  900; 
ditto,  in  Potsdam,  901. 

Homs  overcoming  the  powers  of 
evil,  stela  in  Cairo,  31. 

Houdon,  Jean  Antoine,  sculptor, 
p.  309;  head  from  the  statue  of 
Voltaire,  in  Paris,  2506;  bust  of 
Voltaire,  in  Versailles,  2507; 
(?)  bust  called  Robespierre,  in 
Versailles,  2508. 

Hound,  Molossian,  on  a grave  monu- 
ment in  the  Kerameikos,  644. 

Hours,  reliefs  on  the  Borghese  altar, 
in  the  Louvre,  994. 

Huve,  architect,  2108. 

Hygeia,  (?)  head,  in  Athens,  769. 

Hypnos,  head  from  Perugia,  in  the 
British  Museum,  763. 

Hypostyle  Hall,  at  Karnak,  model 
of,  54. 

Iceland,  wood  carvings  from,  in  the 
Museum  at  Copenhagen,  i6oo- 
1608. 

Idolino,  statue  of  the,  in  Florence, 
396. 

Ikarios,  (?)  receiving  Dionysos,  on  a 
relief  in  the  British  Museum, 
873;  ditto,  in  Naples,  874. 

Ikaros  and  Daidalos,  relief  in  Rome, 
884. 

Iktinos,  architect,  pp.  61,  73. 


GENERAL  INDEX 


362 

Ilaria  del  Carretto,  tomb  of,  by 
Jacopo  della  Quercia,  in  Lucca, 

2357- 

Ilioneus,  so  called,  statue  in  Munich, 
714. 

llissos,  (?)  from  the  Parthenon  pedi- 
ment, in  the  British  Museum, 
484;  (?)  torso  from  the  Parthe- 
non pediment,  in  the  Akropolis 
Museum,  492. 

Im.hoff,  Wilibald  and  Anna,  busts 
by  Jan  de  Zar,  in  Berlin,  2581, 
2582. 

Infants  by  Andrea  della  Robbia,  on 
the  Hospital,  Florence,  2360- 
2363- 

Inscriptions.  Egyptian:  on  a seated 
statuette  of  Amenemhat,  in  the 
British  Museum,  22;  of  Amen- 
hetep  II  and  his  mother,  on  the 
prow  of  a boat,  in  the  British 
Museum,  30;  of  Kennekht,  in 
the  British  Museum,  33;  dedi- 
catory, of  King  Nekht-hor-heb 
to  Thoth,  in  the  British  Mu- 
seum, 47;  Decree  of  Canopus, 
in  Cairo,  52;  Rosetta  Stone,  in 
the  British  Museum,  53. 

Chaldaean:  on  a boundary  stone, 
in  the  British  Museum,  107. 

Assyrian:  on  the  “ Black  Obelisk” 
of  Shalmaneser  II,  in  the  Brit- 
ish Museum,  144. 

Persian:  of  Xerxes,  from  Persep- 
olis,  188;  of  Artaxerxes  Ochus, 
from  Persepolis,  189. 

Himyaritic:  in  the  British  Mu- 
seum, 217. 

Greek.  Sculptors’  names:  Al- 

xenor  of  Naxos,  384;  Aristokles, 
435;  Marcus  Cossutius  Cerdo, 
597;  Paionios  of  Mende,  601; 
Apollonios,  son  of  Nestor  of 
Athens,  841;  Agasias,  son  of 
Dositheos  of  Ephesos,  846; 
Archelaos,  of  Priene,  on  the 
apotheosis  of  Homer,  883; 
Menelaos  the  pupil  of  Ste- 
phanos, 936;  Stephanos,  pupil 
of  Pasiteles,  937;  Kleomenes, 
967;  Sosibios  of  Athens,  1002; 
Apollonios,  son  of  Archios  of 
Athens,  1026. 

Votive:  on  an  archaic  statue 
dedicated  to  Artemis  by  Nik- 
andre.  from  Delos,  349;  on  an 


archaic  statue  of  Hera  (?),  from 
Samos,  350;  on  the  statue  of 
Chares,  from  Branchidae,  353; 
on  the  pedestal  of  the  Nike  of 
Paionios,  601;  to  Dionysos,  on 
a stele  serving  as  a base,  in 
Athens,  880;  on  an  altar  in  the 
Dionysiac  theatre  in  Athens, 
888;  on  an  archaic  statuette  of 
Apollo,  in  Berlin,  1078;  on  a 
kanephoros,  in  Berlin,  1101; 
and  on  the  following  votive  re- 
liefs: to  Zeus  Hypseistos,  in 
Berlin,  909,  910;  to  Pan  and  the 
Nymphs,  913;  of  Peisikrates,  in 
Athens,  914;  to  the  nymphs 
and  all  the  gods,  in  Berlin,  920; 
of  Claudia  Ageta,  933;  of  An- 
thousa,  934;  of  two  brothers 
dedicating  hair  to  Poseidon, 
935- 

On  grave  monuments:  of  Veke- 
damos,  613;  of  Polyxene,  614; 
of  Philis,  617;  of  Hegeso,  618; 
of  Agathokles,  620;  of  Mynno, 
624;  of  Amphotto,  625;  of 
Xanthippos,  628;  of  Arches- 
trate,  in  Athens,  632;  of 
Ameinokleia,  634;  of  Korallion, 
635;  of  a theatrical  (?)  person- 
age, in  the  Peiraieus,  642;  of 
Aristogeiton,  648;  in  the  form 
of  a lekythos,  in  the  British 
Museum,  650;  of  Exakestes  and 
Metreis,  65 1 ; of  Archedemos, 
652;  of  Kallias,  6^3;  of  a war- 
rior, in  the  British  Museum, 
656;  of  Jason,  657;  of  Artemi- 
doros,  658;  of  Aristokles,  659; 
of  those  who  fell  in  the  Cor- 
inthian war,  662;  of  Mnesis- 
trate,  670;  of  Eumachos,  671; 
of  Smikylion,  672;  of  Theophile, 
673;  of  Epikrates,  674;  of  Erine, 
675;  of  Mikines,  676;  of  Philip- 
pos,  677. 

Miscellaneous:  on  a Cretan  liba- 
tion table,  in  Candia,  295;  on 
tablets  from  the  Palace  of 
Knossos,  in  Candia,  296,  297; 
of  Agamemnon  and  his  heralds 
Talthybios  and  Epeios,  on  a re- 
lief from  Samothrake,  in  the 
Louvre,  371;  the  law  code  of 
Gortyna,  Crete,  446;  sacrificial, 
on  reliefs  from  Thasos,  in  the 


GENERAL  INDEX 


363 


Louvre,  45 : ; treaty  of  Athens 
and  Kios,  771;  on  an  Etruscan 
goddess,  in  Berlin,  1089;  on  the 
altar  of  Peisistratos,  in  Athens, 
1 184;  Lycian,  on  the  tomb  of 
Payava,  1234;  on  the  throne 
from  the  Dionysiac  theatre, 
1343;  from  the  temple  of  Herod 
at  Jerusalem,  1394. 

Latin:  on  a relief  of  the  Via  Sacra, 
from  the  Hateria  mausoleum, 
945;  on  a bust  of  Cicero,  963:  on 
a bust  of  P.  Cornelius  Scipio, 
964;  on  a double  bust  of 
Sokrates  and  Seneca,  973;  on 
the  altar  from  Ostia,  1007;  on 
the  sepulchral  chest  of  Cornelia 
Servanda,  in  the  British  Mu- 
seum, 1010;  ditto,  of  Vernasia 
Cyclax,  in  the  British  Museum, 
loii;  ditto  of  Silia  Attica,  in 
the  British  Museum,  1012;  on 
a bust  of  Demosthenes,  in  Na- 
ples, 1041;  on  a bust  of  Epi- 
curus, in  Naples,  1045;  on  a 
bust  of  Hermarchos,  in  Naples, 
1047;  on  a bust  of  Zeno,  in 
Nanles,  1048;  on  the  Pantheon, 
1206;  on  the  Arch  of  Constan- 
tine, 1267;  on  a sepulchral  cip- 
pus  in  the  form  of  an  altar, 
1336. 

Runic,  on  gravestones  in  London, 

1539,  1540. 

loalaos  and  Herakles  pursuing  Cen- 
taurs, on  a frieze  from  Assos,  in 
Boston,  362. 

Iris,  (?)  on  the  Parthenon  pediment, 
480;  on  the  Parthenon  frieze, 
east  side,  530. 

Isis,  seated  statuette  of,  from  the 
tomb  of  Psamtik,  in  Cairo, 
50. 

Isotta  da  Rimini,  so  called,  bust  in 
Pisa,  2409. 

Italian  art.  Early  Christian,  p.  207; 
Byzantine,  p.  208;  Roman- 
esque, p.  210;  Gothic,  p.  237; 
Renaissance  architecture, 
p.  253;  Renaissance  sculpture, 
p.  272. 

Jacob  and  Esau,  relief  on  the  Bap- 
tistery doors,  Florence,  2306. 

Jacob  of  Lichtenberg,  bust  by 
Nicolas  von  Leyden,  2546. 


Jacopo,  Cardinal  of  Portugal,  mon- 
ument of,  by  A.  Rossellino,  in 
Florence,  2380. 

Jason,  stele  of,  in  the  British  Mu- 
seum, 657;  statue  by  a pupil  of 
Michelangelo,  in  London,  2336. 

Jean  de  Rouen,  sculptor,  p.  306; 
pulpit  in  Coimbra,  2490. 

Jean  de  Vienne,  details  from  the 
tomb  of,  in  the  Chateau  of 
Pagny,  2063  A-C. 

Jeanne  de  Flandre,  Abbess,  elfigy  in 
Laon,  1721. 

Jeremiah,  head  from  the  statue  of, 
by  Donatello,  in  Florence,  2290. 

Jerome  de  Fiesole,  sculptor,  p.  308; 
tomb  of  the  children  of  Charles 
VI 1 1,  in  Tours,  2500. 

Jerusalem,  capture  of,  relief  on  the 
Arch  of  Titus,  in  Rome,  942. 

Joseph  and  his  brethren,  relief  on 
the  Baptistery  doors,  Florence, 
2306;  of  Arimathea,  in  the 
Pieta  by  Michelangelo,  in  Flor- 
ence, 2327. 

Joys  of  the  Virgin,  medallions  by 
Veit  Stoss,  in  Nuremberg, 
2550  A-G. 

Judith  and  Holofernes,  group  by 
Donatello,  in  Florence,  2284. 

Juliot,  Jacques,  sculptor,  p.  306;  re- 
liefs of  the  Passion,  in  Troyes, 
2491  A-D. 

Juno,  see  Hera. 

Jupiter,  see  Zeus. 

Juste,  Antoine,  sculptor,  p.  307; 
bust  of  a helmeted  man,  in  the 
Louvre,  2492. 

Kaineus,  on  the  Phigaleian  frieze, 

553- 

Kallias,  stele  of,  in  Athens,  653. 

Kallikrates,  architect,  p.  61. 

Kalydonian  boar  hunt,  relief,  in 
Berlin,  466. 

Kanephoros,  statuette,  in  Berlin, 

1 101. 

Karnak,  Egyptian  sculptures  found 
at,  23,  32,  39,  42;  model  of  the 
Temple  of  Amen  at,  54. 

Karyatides,  Roman,  in  the  British 
Museum,  940;  of  the  Erech- 
theion,  1203:  by  Arthur  Quel- 
lin,  in  Amsterdam,  2164-2167. 

Kassandra,  relief  on  the  Medici  vase, 
in  the  Lhfizi,  1004. 


GENERAL  INDEX 


364 

Kastor,  (?)  statuette  in  the  British 
Museum,  1147. 

Kekrops  and  a daughter,  copies 
of  Parthenon  sculptures,  in 
Athens,  509. 

Ken-nekht,  squatting  statue  of,  in 
the  British  Museum,  33. 

Kephalos,  sitting  on  a rock,  statu- 
ette, in  Paris,  1 1 54. 

Kephisodotos,  sculptor,  681,  682. 

Kephissos,  (?)  from  the  Parthenon 
pediment,  in  the  British  Mu- 
seum, 484;  (?)  torso  from  the 
Parthenon  pediment,  in  the 
Akropolis  Museum,  492. 

Kerkyon,  on  a metope  from  the 
Theseion,  Athens,  541. 

Khafra,  King,  seated  statue  of,  in 
Cairo,  6. 

Khnum,  Seti  II  with  emblem  of, 
statue  in  the  British  Museum, 
39. 

Khufu-Ankh,  side  of  the  sarcopha- 
gus of,  in  Cairo,  5. 

Kings,  so  called,  from  the  central 
door  of  Chartres  Cathedral, 
1699,  1700. 

Kleomenes,  sculptor,  967. 

Klytie,  so  called,  bust  in  the  British 
Museum,  974. 

Klytios,  on  the  Pergamon  altar 
frieze,  796. 

Knidos,  Aphrodite  of,  copy,  in  the 
Vatican,  697;  ditto,  in  Munich, 
698;  head  of,  copy,  in  Berlin, 
699;  Demeter  from,  in  the  Brit- 
ish Museum,  749;  female  head 
from,  in  the  British  Museum, 
766. 

Knocker,  in  Munich,  1514;  in  Stutt- 
gart, 1524;  in  Wurzburg,  1527; 
from  Durham,  i 548;  in  Bayonne 
Cathedral,  1690;  in  the  Musee 
de  Cluny,  Paris,  2090,  2091; 
from  Berghausen,  in  Munich, 
2118;  in  Nuremberg,  2156- 
2158;  in  Oldenburg,  2160. 

Knossos,  details  from,  in  Candia, 
251-253,  255-294,  296,  297. 

Kora,  see  Persephone. 

Korallion,  stele  of,  in  Athens,  635. 

Kore,  (?)  statue  of  a,  in  the  Vatican, 
752. 

Krafft,  Adam,  sculptor,  p.  311; 
statue  of  the  Madonna  and 
Child,  in  Nuremberg,  2542; 


fourth  and  seventh  Stations  of 
the  Cross,  in  Nuremberg,  2543, 
2544. 

Krater,  in  the  British  Museum, 
1005. 

Kresilas,  sculptor,  574. 

Kritios,  sculptor,  447,  448,  450. 

Kronos,  head  of,  in  the  Vatican,  603. 

Kybele,  on  the  Pergamon  altar 
frieze,  794;  on  the  Priene  frieze, 
in  the  British  Museum,  870;  on 
a votive  relief,  in  Berlin,  918. 

Labenwolf,  Pancratz,  sculptor, 
p.  311;  the  “ Little  Gooseman”, 
in  Nuremberg,  2545. 

Laborde  head,  from  the  Parthenon, 
in  Paris,  493. 

Labors  of  Herakles,  on  the  Olympia 
metopes,  470-474. 

Lacunar,  fragments,  in  the  British 
Museum,  1185,  1 186. 

Lady  of  Lucca,relief  of  a,  by  Civitali, 
in  the  Bargello,  2259. 

Lambertis,  Stefano,  sculptor,  2001. 

Lamp  from  the  Palace  of  Knossos, 
in  Candia,  286;  in  the  form  of  a 
ship,  in  Athens,  1 171. 

Lamp-stands,  in  the  form  of  a Sile- 
nos,  in  Naples,  1173,  1 174. 

Lanfrani,  Jacopo,  sculptor,  1800 
A-C. 

Laokoon  group,  in  the  Vatican, 
843. 

Lapiths,  on  the  Olympia  pediment, 
469;  on  the  Parthenon  metopes, 
512-528;  on  the  Phigaleian 
frieze,  553 ; on  a relief  by  Michel- 
angelo, in  Florence,  2332. 

Last  Judgment,  relief  on  the  Siena 
pulpit,  1810;  in  the  Rosary  by 
Veit  Stoss,  in  Nuremberg,  2551. 

Last  Supper,  on  the  north  door  of 
Bordeaux  Cathedral,  1692; 
small  relief  in  the  Rosary  by 
Veit  Stoss,  in  Nuremberg,  2551. 

Latona,  see  Leto. 

Laurana,  Francesco,  sculptor, 
p.  284;  the  “femme  inconnue”, 
in  the  Louvre,  2312;  a Neapoli- 
tan princess,  in  Berlin,  2313. 

Lecomte,  P'elix,  sculptor,  p.  309; 
bust  of  Marie  Antoinette,  in 
Versailles,  2509. 

Lekythos,  from  a grave,  in  Athens, 
649. 


GENERAL  INDEX 


365 


Lemercier,  Jean,  architect,  2104, 
2105. 

Lemnian  Athena,  composite  cast, 

565* 

Lenormant  Athena,  in  Athens,  532. 
Leochares,  sculptor,  see  739-744, 


Leopardi,  Alessandro,  sculptor, 
p.  302;  Colleoni  statue  cast  by, 
2398;  pedestal  of  a flag  staff  in 
Venice,  2427. 

Lerch,  Nicolas,  see  Nicolas  von  Ley- 
den. 

Leroux,  Roland,  sculptor,  2102, 

Lesbian  moulding,  in  Olympia,  1226. 

Lescot,  Pierre,  architect,  2079,  2086- 
2089. 

Leto,  on  a relief  in  Berlin,  996. 

Leukothea  relief,  in  the  Villa  Albani, 
383:  (?)  statue  on  the  Parthe- 
non pediment,  490. 

Libation-table,  from  the  Diktaean 
cave,  in  Candia,  295. 

Liberal  arts,  statuettes  on  the  Siena 
pulpit,  1810. 

Lioness,  head,  in  Candia,  280. 

Lion,  Egyptian,  from  Nubia,  in  the 
British  Museum,  31;  Assyrian, 
126-128,  147,  149,  150;  Persian, 
183,  191,  196,  197;  Greek,  over 
the  gate  of  Mykenae,  341 ; on  a 
frieze  from  Assos,  in  the  Louvre, 
366,  367;  from  Xanthos,  in  the 
British  Museum,  378  B,  380  A, 
C,  D,  381  A,  B;  on  the  Mauso- 
leum frieze,  742;  head,  from 
Ephesos,  in  the  British  Mu- 
seum, 1181;  head,  waterspout 
in  the  form  of  a,  in  Paris,  1 187; 
ditto,  in  Olympia,  1188-1194; 
head,  from  the  cyma  of  the  Par- 
thenon, 1201;  head,  from  the 
Temple  of  Antoninus  and 
Faustina,  Rome,  1333. 

Lodovico  III  Gonzaga,  bust  by 
Donatello,  in  Berlin,  2294. 

Lombard  architectural  details,  1430- 
1436,  1439-1442;  school  of 

sculpture,  p.  298. 

Lombardi,  Tullio,  tomb  in  Ravenna 
attributed  to,  2434. 

Lombardo,  Pietro,  sculptor,  2033- 
2035,  2041. 

Lucius  Cornelius  Scipio  Barbatus, 
model  of  the  sarcophagus  of, 

1355- 


Lucius  Junius  Brutus,  (?)  bust  in 
Rome,  961. 

Ludovisi  Collection,  head  of  a god- 
dess from,  in  Rome,  407;  colos- 
sal bust  of  Hera  or  Demeter 
from,  in  the  Museo  delle  Terme, 
609;  Ares,  in  the  Museo  delle 
Terme,  732;  Hera,  so  called, 
colossal  bust  in  Rome,  976. 

Luna,  Rinaldo  della,  bust  of,  by 
Mino  da  Fiesole,  in  the  Bar- 
gello,  2342. 

Lycian  architecture,  detail  of,  in 
the  British  Museum,  1235. 

Lykosoura,  fragments  from,  in 
Athens,  821-824. 

Lysikrates,  Choragic  monument  of, 
in  Athens,  1237;  small  model, 
1238;  frieze  from,  1239. 

Lysippos,  pp.  98,  106;  Apoxyome- 
nos,  copy,  in  the  Vatican,  731. 

Macchiavelli,  Niccolo,  bust,  Flor- 
entine school,  in  the  Bargello, 
2411. 

Madonna,  the  Nuremberg,  statue  by 
Peter  Vischer  the  younger,  in 
Nuremberg,  2561 ; and  the  dead 
Christ:  group  by  Michelangelo, 
in  Rome,  2322;  group  by 
Michelangelo,  in  Florence,  2327; 
relief  by  a pupil  of  Michelan- 
gelo, in  Genoa,  2337;  group  in 
Nuremberg,  2563. 

Madonna  and  Child.  Statues:  and 
Apostles,  in  the  Porte  de  la 
Vierge  Doree,  at  Amiens,  1682; 
on  the  pier  of  the  doorway  of 
Aix  Cathedral,  2046;  by  Bene- 
detto da  Maiano,  in  Florence, 
2242;  by  Michelangelo,  in 
Bruges,  2323;  by  Michelangelo, 
in  Florence,  2326;  by  Adam 
Krafft,  in  Nuremberg,  2542. 

Statuettes:  on  the  Siena  pulpit, 
1810;  by  Godl,  in  Nuremberg, 
2541- 

Reliefs:  and  three  Magi,  over  the 
doorway  in  Clermont-Ferrand, 
1449;  ditto,  on  the  Roman- 
esque tympanum  at  Freiberg, 
1479;  and  Saints,  on  a choir 
screen  in  Hildesheim,  1501; 
from  the  porch  of  St.  Anne, 
Notre-Dame,  Paris,  1724;  over 
a doorway  in  Rheims  Cathedral, 


GENERAL  INDEX 


366 


1770;  and  Saints,  from  the 
tympanum  in  Milan  Cathedral, 
1803;  by  Benedetto  da  Maiano, 
in  S.  M.  Novella,  Florence, 
2246;  by  the  same,  in  San 
Gimignano,  2247;  the  “Ma- 
donna delle  Tosse,”  by  Civi- 
tali,  in  Lucca,  2263;  by  Desi- 
derio,  in  Palazzo  Panciatichi, 
Florence,  2275;  ^^e  same,  in 

Turin,  2276;  by  a pupil  of 
Donatello,  in  Siena,  2301;  by 
a pupil  of  Federighi,  in  Siena, 
2303;  from  the  Tartagni  monu- 
ment by  Ferrucci,  in  Bologna, 
2304  C;  and  St.  John,  by 
Michelangelo,  in  the  Bargello, 
2333;  and  Saints,  altar-piece  by 
Mino  da  Fiesole,  in  Fiesole, 
2347:  circular  relief  by  Mino  da 
Fiesole,  in  the  Bargello,  2349; 
rectangular  relief,  by  Mino,  in 
the  Bargello,  2350;  by  Mino,  in 
Berlin,  2351;  by  Giovanni  di 
Turino,  on  the  font  at  Siena, 
2355;  and  Saints,  on  the  Trenta 
altar,  by  Jacopo  della  Quercia, 
in  Lucca,  2356;  the  “Madonna 
of  the  Architects,”  by  Andrea 
della  Robbia,  in  the  Bargello, 
2364;  Adoration,  by  the  same, 
in  Florence,  2365;  circular,  by 
the  same,  in  the  Bargello,  2368; 
and  Saints,  by  the  same,  in 
Florence,  2369;  Adoration, 
school  of  A.  della  Robbia,  in 
Florence,  2370;  on  the  doors  by 
Luca  della  Robbia,  in  Florence, 
2372;  by  A.  Rossellino,  in  Paris, 
2385;  ditto,  in  London,  2386; 
ditto,  in  the  Bargello,  2387; 
the  “Madonna  del  Latte,”  by 
A.  Rossellino,  in  Florence, 
2388;  by  A.  Rossellino,  in  the 
Via  della  Spada,  Florence, 
2389;  by  Verrocchio,  in  the 
Bargello,  2406;  and  Saints,  by 
J.  Sansovino,  in  Berlin,  2430; 
and  two  donors,  Venetian 
school,  in  Berlin,  2435. 

Maenad,  dancing,  statue  in  Berlin, 
828;  and  satyr,  relief  in  Rome, 
879;  dancing,  relief  in  the  Villa 
Albani,  955;  frenzied,  relief  in 
the  British  Museum,  9156;  re- 
lief on  the  Borghese  vase,  in 


the  Louvre,  1003;  relief  on  a 
krater,  in  the  British  Museum, 
1005;  reliefs  on  a candelabrum, 
in  the  Louvre,  1013;  and  a 
satyr  with  Dionysos,  relief  in 
the  British  Museum,  1358.  See 
also  Bacchantes. 

Maidens,  Porch  of  the,  from  the 
Erechtheion,  1203. 

Maiano,  Benedetto  da,  see  Bene- 
detto da  Maiano;  Giovanni  da, 
see  Giovanni  da  Maiano. 

Manfredi,  Barbara,  head  from  the 
effigy  of,  by  Ferrucci,  in  Forli, 
2305. 

Mansart,  architect,  2086-2089. 

Mantineia,  stele  from,  in  Athens, 
621;  reliefs  from,  in  Athens, 
705. 

Mantuan  Apollo,  in  Mantua,  464; 
vase,  in  Brunswick,  1167. 

Marble  Faun,  in  the  Capitoline  Mu- 
seum, 702. 

Marcus  Junius  Brutus,  (?)  bust,  in 
the  Capitoline  Museum,  962; 
Vipsanius  Agrippa,  bust  in  the 
Louvre,  972;  Aurelius,  bust,  in 
the  British  Museum,  988. 

Marie  Antoinette,  bust  by  Lecomte, 
in  Versailles,  2509;  Adelaide, 
bust  in  Versailles,  2511. 

Marriage  ceremony,  on  a sarcopha- 
gus relief,  in  the  British  Mu- 
seum, 932. 

Mars,  relief  on  an  altar  from  Ostia, 
1007;  Ultor,  Temple  of,  Rome, 
section  of  the  architrave  of, 
1274.  See  also  Kres. 

Marsuppini  monument,  by  Deside- 
rio,  in  Florence,  2266. 

Marsyas,  Roman  copy  of  Myron’s, 
in  the  Lateran  Museum,  Rome, 
562;  in  contest  with  Apollo,  re- 
lief from  Mantineia,  in  Athens, 
705;  torso,  in  Berlin,  834;  head, 
m the  Capitoline  Museum,  856. 

Martinengo,  panel  from  the  tomb 
of,  in  Brescia,  2001. 

Mary  Magdalen,  in  the  Pieta  by 
Michelangelo,  in  Florence,  2327; 
in  the  seventh  Station  of  the 
Cross,  by  Krafft,  in  Nuremberg, 
2544- 

Mask,  relief  of  a tragic  and  a comic, 
in  the  British  Museum,  957;  on 
a panel,  in  the  British  Museum, 


GENERAL  INDEX 


958;  of  a satyr,  by  Michelangelo 
(?),  in  the  Bargello,  2335. 

Maso  di  Bartolommeo,  sculptor, 
2372- 

Master  of  San  Trovaso,  sculptor, 
p.  303;  reliefs  of  angels  with 
symbols  of  the  Passion,  in  Ven- 
ice, 2432;  ditto,  in  Berlin,  2433. 

Matidia,  so  called,  bust  in  the  Brit- 
ish Museum,  983. 

Mattei  Amazon,  in  the  Vatican, 
606. 

Mausoleum  at  Halikarnassos,  sculp- 
tures from,  in  the  British  Mu- 
seum, 739-744;  section  of  the 
cymatium  of,  in  the  British 
Museum,  1236;  of  the  gens 
Hateria,  reliefs  in  the  Lateran 
Museum,  945,  946;  of  Hadrian, 
Rome,  half  a capital  from,  in 
the  Museo  delle  Terme,  1279. 

Mausolos,  statue  in  the  British  Mu- 
seum, 739. 

Medea,  on  a relief  in  the  Lateran 
Museum,  578. 

Medici,  Minerva,  statue  in  Paris, 
567;  vase,  reliefs  from,  in  the 
Uffizi,  1004;  tombs,  by  Michel- 
angelo, in  Florence,  2314,  2315 
A,  B;  Giuliano  de’,  statue  by 
Michelangelo,  in  Florence,  2314; 
Lorenzo  de',  statue  by  Michel- 
angelo, in  Florence,  2315  A; 
Giovanni  de’,  bust  by  Mino  da 
Fiesole,  in  the  Bargello,  2339; 
Piero  de’,  bust  by  Mino  da 
Fiesole,  in  the  Bargello,  2341; 
Piero  di  Lorenzo  de’  (?),  bust 
by  Verrocchio,  in  the  Bargello, 
2403;  Cosimo  de’,  the  elder, 
bust  in  relief,  by  Verrocchio,  in 
Berlin,  2404;  Lorenzo  de’,  bust 
from  his  death  mask,  in  Flor- 
ence, 2410. 

Medusa,  on  a relief  from  Melos,  in 
the  British  Museum,  388;  on  a 
metope  from  Selinus,  in  Pal- 
ermo, 394;  head,  on  a terracotta 
frieze,  Roman,  1374:  head  on  a 
Renaissance  door  panel  of  the 
old  Hotel  de  Ville,  Paris,  2094; 
Perseus  beheading,  bronze 
model  by  Cellini,  in  the  Bar- 
gello, 2256. 

Megarians,  pediment  of  the  Treas- 
ury of,  in  Olympia,  401, 


367 

Meleager  of  Skopas,  copy,  in  the 
Vatican,  722;  dying,  relief  in 
the  Capitoline  Museum,  947, 

“Melian”  reliefs,  of  Bellerophon, 
386;  of  Alkaios  and  Sappho  (?), 
387;  of  Perseus  and  Medusa, 
388;  of  the  Kalydonian  boar 
hunt,  466. 

Mellini,  Pietro,  bust  of,  by  Bene- 
detto da  Maiano,  in  the  Bar- 
gello, 2244. 

Melos,  statue  of  Apollo  (?)  from,  in 
Athens,  352;  Venus  of,  in  the 
Louvre,  745;  head  of  Zeus  or 
Asklepios  from,  in  the  British 
Museum,  762;  statue  of  Posei- 
don from,  in  Athens,  81 1. 

Menander,  (?)  statue  in  the  Vatican, 
892. 

Menelaos  of  Rome,  sculptor,  p.  144; 
group  called  Orestes  and  Elec- 
tra,  in  Rome,  936. 

Menelaos,  head  from  a group,  in  the 
Vatican,  853:  and  Helen,  terra- 
cotta relief,  in  Rome,  1359. 

Mercury,  statue  by  Giovanni  da 
Bologna,  in  the  Bargello,  2422. 
Greek,  see  Hermes. 

Messalina,  so  called,  head  in  the 
British  Museum,  977. 

Metopes,  from  Assos,  in  the  Louvre, 
337-359;  from  Selinus,  in  Pa- 
lermo, 394;  from  Olympia,  470- 
474;  from  the  Parthenon,  512- 
529;  from  Troy,  in  Berlin,  872. 

Metrodoros,  bronze  bust  of,  in  Na- 
ples, 1043. 

Metezeau,  Louis  and  Thibaut,  archi- 
tects, 2077. 

Michelangelo,  sculptor,  p.  284; 
Medici  tombs,  in  Florence. 
2314,  2315  A,  B;  Moses,  in 
Rome,  2316;  bound  captives, 
in  the  Louvre,  2317,  2318; 
young  St.  John  the  Baptist,  in 
Berlin,  2319;  Bacchus,  in  the 
Bargello,  2320;  Cupid,  in  Lon- 
don, 2321;  Pieta,  in  Rome, 
2322;  Madonna  and  Child,  in 
Bruges,  2323;  Christ  risen,  in 
Rome,  2324;  David  (or  Apollo), 
in  the  Bargello,  2325;  Madonna 
and  Child,  in  Florence,  2326; 
Pieta,  or  Deposition,  in  Flor- 
ence, 2327;  (?)  the  wounded 
Adonis,  in  the  Bargello,  2328; 


GENERAL  INDEX 


368 

(?)  crouching  youth,  in  St. 
Petersburg,  2329;  David,  colos- 
sal head,  in  Florence,  2330; 
bust  of  Brutus,  in  the  Bargello, 
2331 ; relief  of  the  Battle  of  the 
Lapiths  and  Centaurs,  in  Flor- 
ence, 2332;  relief  of  the  Ma- 
donna and  Child  and  St.  John, 
in  the  Bargello,  2333;  candela- 
brum, in  Florence,  2334;  (?) 
satyr-mask,  in  the  Bargello, 
2335- 

School  of,  statue  of  Jason,  in 
London,  2336;  relief  of  the 
Madonna  and  the  dead  Christ, 
in  Genoa,  2337. 

Michelozzo,  sculptor,  2298,  2372. 

Mikines,  part  of  the  stele  of,  in 
Athens,  676. 

Minerva  Medici,  in  Paris,  567.  See 
also  Athena. 

Minerve  au  Collier,  in  the  Louvre, 
534- 

Mino  da  Fiesole,  sculptor,  p.  287; 
panel  from  the  balustrade  of 
the  choir,  in  the  Sistine  Chapel, 
Rome,  2024;  monument  of  L. 
Salutati  in  Fiesole,  2338;  bust 
of  Giovanni  de’  Medici,  in  the 
Bargello,  2339;  bust  of  Niccolo 
Strozzi,  in  Berlin,  2340;  bust 
of  Piero  de’  Medici,  in  the  Bar- 
gello,2341  ; bust  of  Rinaldo  della 
Luna,  in  the  Bargello,  2342; 
bust  of  a young  Florentine  wo- 
man, in  Berlin,  2343;  bust  of 
the  young  St.  John,  in  the 
Louvre,  2344;  tabernacle,  in 
Florence,  2345;  ditto,  in  Rome, 
2346;  altar-piece,  in  Fiesole, 
2347;  Faith,  relief  in  Berlin, 
2348;  Madonna  and  Child,  cir- 
cular relief,  in  the  Bargello, 
2349:  ditto,  rectangular,  in  the 
Bargello,  2350;  ditto,  circular, 
in  Berlin,  2351. 

Minyas,  fragment  from  the  Treasury 
of,  at  Orchomenos,  345. 

Mnesistrate,  part  of  the  stele  of,  in 
Athens,  670. 

Models  of  the  Hypostyle  Flail  at 
Karnak,  54;  of  the  Aegina  pedi- 
ments, 426  A,  B;  of  the  Akrop- 
olis  at  Athens,  473;  of  the  Par- 
thenon at  Athens,  476;  of  the 
upper  corner  of  the  Parthenon, 


1 196;  of  the  Monument  of  Lysi- 
krates,  1238;  of  the  Pantheon 
at  Rome,  1266;  of  the  Arch  of 
Constantine,  1267;  of  a capital 
and  base  from  the  Temple  of 
Castor  in  Rome,  1269;  of  the 
architraves,  bases,  and  capitals 
of  the  Theatre  of  Marcellus, 
Rome,  1 2^77,  1278;  of  a Corin- 
thian capital  from  the  Pan- 
theon, 1287;  of  the  sarcophagus 
of  Lucius  Cornelius  Scipio  Bar- 
batus,  1355;  of  the  porch  of  St. 
Trophime  at  Arles,  1443:  of 
Notre-Dame,  Paris,  1723;  of  the 
rose  window  in  the  Church  of 
St.  Lorenz,  Nuremberg,  1846; 
of  the  doorway  of  the  Cathedral 
of  Saragossa,  in  the  Armeria 
Real,  Madrid,  1919;  of  the 
facade  of  the  Butchers’  Guild 
House,  Hildesheim,  2120. 

Modern  sculpture,  p.  317, 

Molossian  hound,  on  a grave 
monument  in  the  Kerameikos, 
644- 

Morel,  Jacques,  sculptor,  p.  307; 
effigies  of  Charles  I,  Duke  of 
Bourbon,  and  his  wife,  in  Sou- 
vigny,  2493  A,  B. 

Moses  striking  the  rock,  on  an  early 
Christian  sarcophagus,  in  the 
Lateran  Museum,  1406;  on  Mt. 
Sinai,  relief  on  the  Baptistery 
doors,  Florence,  2306;  seated 
statue  by  Michelangelo,  in 
Rome,  2316;  on  Mt.  Sinai,  in 
the  Rosary  by  Veit  Stoss,  in 
Nuremberg,  2551. 

Mt.  Olympos,  on  the  Parthenon 
pediment,  478. 

Mourning  Athena,  the  so-called,  in 
Athens,  463. 

Muses,  on  reliefs  from  Mantineia,  in 
Athens,  705:  (?)  statue,  in  the 
Vatican,  752;  in  the  Apotheosis 
of  Homer,  in  the  British  Mu- 
seum, 883;  on  a votive  relief,  in 
Athens,  915;  (?)  leaning  on  a 
pillar,  votive  relief,  in  Athens, 
916;  and  Herakles,  on  a votive 
relief,  in  Athens,  917. 

Mykenae,  lions  over  the  gate  of, 
341 : fragments  from  the  Treas- 
ury of  Atreus  at,  in  the  British 
Museum,  342-344. 


GENERAL  INDEX 


Mynno,  stele  of,  in  Berlin,  624. 

Myron,  sculptor,  p.  61. 

Nanni  di  Banco,  sculptor,  p.  289; 
Madonna  and  three  angel  heads 
from  the  Porta  della  Mandor- 
la.  Cathedral,  Florence,  2352 
A-D. 

Nemean  lion,  on  the  Olympia  met- 
ope, 474. 

Neptune,  see  Poseidon. 

Nereid  monument,  sculptures  from, 
in  the  British  Museum,  554- 
559;  Ionic  column  from,  in  the 
British  Museum,  1232;  double 
egg-and-dart  moulding  from,  in 
the  British  Museum,  1233. 

Nereids,  on  a frieze  from  Assos,  in 
the  Louvre,  361;  from  the 
Nereid  monument,  554-557; 
on  an  akroterion  from  Epidau- 
ros,  in  Athens,  686;  in  the  wed- 
ding procession  of  Poseidon  and 
Amphitrite,  in  Munich,  871. 

Nereus,  on  the  Pergamon  altar 
frieze,  791. 

Nero,  bust  in  the  British  Museum, 

975- 

Neroni,  Bartolommeo,  sculptor, 
2029. 

Nesiotes,  sculptor,  447,  448,  450. 

Niccolo  d’ Arezzo,  sculptor,  2007. 

Niccolo  da  Uzzano,  bust  by  Dona- 
tello in  the  Bargello,  2293. 

Nicodemus,  in  the  Pieta  by  Michel- 
angelo, in  Florence,  2327. 

Nicolas  von  Leyden,  sculptor, 
p.  311;  busts  of  Jacob  of  Lich- 
tenberg  and  Barbe  of  Hotten- 
heim,  2546,  2547. 

Nikandre  of  Naxos,  statue  dedi- 
cated by,  in  Athens,  349. 

Nike.  Statues:  from  Delos,  in 

Athens,  3^  i ; of  Paionios,  in 
Olympia,  601 ; sacrificing  a bull, 
in  the  British  Museum,  612;  of 
Brescia,  747;  of  Samothrake,  in 
the  Louvre,  809. 

Statuette:  or  Aphrodite,  in  the 
British  Museum,  1125. 

Reliefs:  on  the  Parthenon  frieze, 
east  side,  530;  on  the  balus- 
trade of  the  Temple  of  Nike 
Apteros,  545-548;  on  the  col- 
umn of  Trajan,  Rome,  943; 
pouring  a libation  to  Apollo, 


369 

relief  in  Berlin,  996;  ditto,  in 
the  British  Museum,  997;  sacri- 
ficing a bull,  in  the  British  Mu- 
seum, 1356. 

Miscellaneous:  with  a bird,  an 
akroterion  from  Epidauros,  in 
Athens,  687;  on  an  akroterion 
from  Epidauros,  in  Athens,  688; 
on  a terracotta  antefix,  1384. 

See  also  Victory, 

Nike  Apteros,  reliefs  from  the  Tem- 
ple of,  543-55 1. 

Nike,  akroterion  of  the  stele  of,  in 
Athens,  667. 

Nikeratos,  sculptor,  805. 

Nimrod,  on  the  St.  Sebald  monu- 
ment, in  Nuremberg,  2555. 

Niobe  and  her  youngest  daughter,  in 
the  Uffizi,  726;  relief  of  the  de- 
struction of  the  children  of,  in 
St,  Petersburg,  729;  group,  see 
714,  727-729,  758. 

Niobid,  in  the  Ulfizi,  727;  the 
“Chiaramonti,”  in  the  Vatican, 
728. 

Noah  and  the  Ark,  relief  on  the 
Baptistery  doors,  Florence, 
2306. 

Norman  architecture,  p,  218. 

Norway,  wood  carvings  from,  1591- 
1 599. 

Notre-Dame  Cathedral,  Paris,  model 
of,  1723, 

Nuremberg  Madonna,  statue  by 
Peter  Vischer  the  younger  (?), 
in  Nuremberg,  2561 ; school,  the 
Pieta,  in  Nuremberg,  2563. 

Nymphs,  on  a relief  from  Thasos,  in 
the  Louvre,  45 1 ; on  a votive  re- 
lief, in  Athens,  913. 

Nyx,  on  the  Pergamon  altar  frieze, 
801. 

Obelisk,  side  of  an,  with  inscrip- 
tion toThoth,  from  Memphis,  in 
the  British  Museum,  47;  the 
“Black,”  from  Nimrud,  in  the 
British  Museum,  144. 

Oinomaos  and  Pelops,  on  the 
Olympia  pediment,  468. 

Okeanos,  on  the  Pergamon  altar 
frieze,  791. 

Olympia,  archaic  sculptures  found 
at,  390-393,  401,  404-406. 

Olympias,  portrait  (?)  on  a cameo, 
in  St,  Petersburg,  889. 


GENERAL  INDEX 


370 

Omodeo,  Giovanni  Antonio,  see 
Amadeo,  Giovanni  Antonio. 

Onatas,  sculptor,  p.  46. 

Onesicha,  akroterion  of  the  stele  of, 
in  Athens,  665. 

Orantes,  under  the  foot  of  Anti- 
ocheia,  in  the  Vatican,  838. 

Orcagna,  Andrea,  sculptor,  relief, 
and  details  of  the  frame  of  the 
Tabernacle  in  Or  San  Michele, 
Florence,  1802  A-F, 

Orestes  and  Electra,  so  called,  group 
by  Menelaos,  in  Rome,  936. 

Orpheus,  on  a relief  in  the  Villa  Al- 
bani,  579. 

Osiris,  seated  statuette  of,  in  Cairo, 
49. 

Ostia,  Aphrodite  of,  in  the  British 
Museum,  696;  female  head 
from,  in  Munich,  767;  altar 
from,  in  the  Museo  delle  Terme, 
1007. 

Otho  IV,  Count  of  Henneberg,  mon- 
ument of,  by  Peter  Vischer,  in 
Romhild,  2559. 

Oxford  bust,  the,  770. 

Paionios,  sculptor,  468,  601. 

Pallas  Giustiniani,  in  the  Vatican, 
571;  the  Dresden,  archaistic 
statue,  in  Dresden,  991. 

Palmieri,  Matteo,  bust  of,  by  A. 
Rossellino,  in  the  Bargello, 
2382, 

Pamphile  and  Demetria,  stele  of,  in 
the  Kerameikos,  636. 

Pan,  statue,  Polykleitan  style,  in  the 
British  Museum,  597;  on  a vo- 
tive relief,  in  Athens,  913; 
herma  of,  in  the  British  Mu- 
seum, 992;  relief,  on  a krater 
in  the  British  Museum,  1005; 
a young,  statuette  in  Paris, 
1148;  on  the  arm  of  a Roman 
couch,  in  the  Vatican,  1320. 

Panathenaic  procession,  from  the 
Parthenon,  530. 

Pantheon,  at  Rome,  model,  1266; 
model  of  a capital  from,  1287. 

Paris  cameo,  in  Paris,  1017. 

Paris  and  Oinone,  detail  from  the 
relief  of,  in  Rome,  1254. 

Parrot,  J.,  bust  by  Dubois,  2606. 

Parthenon,  history  of  the,  p.  61; 
model  of  the,  476;  eastern  pedi- 
ment figures,  477-483;  western 


pediment  figures,  484-492; 
metopes  from,  512-529;  frieze 
from,  530;  copies  of  the  Athena 
Parthenos  from,  531-540;  archi- 
tectural details  from,  1196- 
1202. 

Parthenos,  see  Athena  Parthenos. 

Passion  of  Christ,  see  Christ,  scenes 
from  the  Passion  of;  symbols  of 
the,  reliefs  in  Venice  and  Berlin, 
2432,  2433. 

Pasteur,  Louis,  bust  by  Dubois, 
2603. 

Pedestal  of  a tripod,  in  Dresden, 
995. 

Pedone,  Giovanni  Gaspari,  sculptor, 
2002. 

Pegasos,  on  a relief  from  Melos,  in 
the  British  Museum,  386. 

Peirithoos,  on  the  Olympia  pedi- 
ment, 469. 

Peisistratos,  cornice  from  the  altar 
of,  in  Athens,  1 184. 

Peitho,  (?)  on  the  Parthenon  frieze, 
east  side,  530. 

Peleas,  daughters  of,  on  a relief  in 
the  Lateran,  578. 

Pelops  and  Oinomaos,  on  the  Olym- 
pia pediment,  468;  and  Hippo- 
dameia,  terracotta  relief  in 
Rome,  1360. 

Penelope,  so  called,  in  the  Vatican, 

455* 

Penseur,  Le,  by  Rodin,  in  Paris, 
2607. 

Pepoli,  Taddeo,  capitals  from  the 
tomb  of,  in  Bologna,  1800 
A-C. 

Pergamenian  sculptures:  Dying 

Gaul,  782;  Gaul  and  his  wife, 
783;  figures  from  the  Attalos 
groups,  784-790;  reliefs  from 
the  Great  Altar,  791-802;  fe- 
male head,  in  Berlin,  803; 
Hermaphrodite,  in  Constanti- 
nople, 804. 

Pergamon  altar,  p.  1 19;  reliefs  from, 
in  Berlin,  791-802;  female  head 
from,  in  Berlin,  803;  capital 
from,  1258. 

Periander,  (?)  head,  in  the  British 
Museum,  903. 

Perikles,  on  a copy  of  the  shield  of 
Athena  Parthenos,  540;  bust, 
in  the  British  Museum,  574. 

Perlan,  sculptor,  2094. 


GENERAL  INDEX 


Persephone,  on  the  Parthenon  pedi- 
ment, 470:  on  the  Eleusinian 
slab,  in  Athens,  577. 

Perseus,  on  a relief  from  Melos,  in 
the  British  Museum,  388;  and 
Medusa,  on  a metope  from 
Selinus,  in  Palermo,  394;  and 
Andromeda,  relief  by  Cellini,  in 
the  Bargello,  2255;  and  Medusa, 
bronze  model  by  Cellini,  in  the 
Bargello,  2256;  statuette  on  the 
St.  Sebald  monument,  in  Nu- 
remberg, 2555. 

Persian,  a dead,  in  Naples,  787;  a 
young,  kneeling,  in  the  Vatican, 
788;  ditto,  in  Aix,  789;  head  of 
a dying,  in  the  Museo  delle 
Terme,  807. 

Persian  art,  p.  17. 

Pheidias,  sculptor,  pp.  61,  75;  por- 
trait of,  on  a copy  of  the  shield 
of  Athena  Parthenos,  540. 

Pherekydes,  head  found  at  Tivoli, 
in  Madrid,  449. 

Phigaleia,  frieze  from,  in  the  British 
Museum,  553. 

Philino,  stele  of,  in  Athens,  638. 

Philip  of  Macedon,  on  the  tomb  of 
Engelbert  11,  in  Breda,  2580. 

Philippe  de  Comines,  capitals  from 
the  tomb  of,  in  the  Ecole  des 
Beaux-Arts,  Paris,  2068  A,  B. 

Philippe  le  Hardi,  mourners  from  the 
tomb  of,  in  Dijon,  2501  A-L. 

Philippos,  part  of  the  stele  of,  in 
Athens,  677, 

Philis,  stele  of,  in  the  Louvre,  617. 

Philokrates,  part  of  the  stele  of,  in 
Athens,  669. 

Phoenician  art,  p.  20. 

Pieta,  relief  by  Donatello,  in  Padua, 
2282  H;  group  by  Michelangelo, 
in  Rome,  2322;  group  by  Michel- 
angelo, in  Florence,  2327;  by 
Adam  Krafft,  in  Nuremberg, 
2544;  group,  Nuremberg  School, 
in  Nuremberg,  2563. 

Pilate  Vv^ashing  his  hands,  relief  by 
Ghiberti  from  the  Baptistery 
door,  Florence,  2307  1. 

Pilon,  Germain,  sculptor,  p.  307; 
details  from  a chimney-piece  in 
the  Louvre,  2082  A-G;  the  three 
Graces,  in  the  Louvre,  2494; 
bust  of  Charles  IX,  in  the 
Louvre,  2495;  bust  of  Henri 


37  > 

IV,  so  called,  in  the  Louvre, 
2496;  relief  of  Valentine  Bal- 
biani,  in  the  Louvre,  2497; 
head  of  a cherub,  in  a private 
collection,  Paris,  2498. 

Pisano,  Andrea,  sculptor,  panel 
called  Agriculture,  on  the  Cam- 
panile, Florence,  1801. 

Niccolo,  sculptor,  statuettes  from 
the  pulpit  in  the  Baptistery, 
Pisa,  1809  A,  B;  pulpit  in  the 
Cathedral,  Siena,  1810. 

Plato,  bust,  in  Berlin,  779;  bust,  in 
the  Vatican,  780;  formerly  so- 
called  bust,  in  Naples,  1022. 

Ploutos,  infant,  in  the  arms  of  Eirene, 
in  Munich,  681;  infant,  frag- 
ment from  a group,  in  the 
Peiraieus,  682. 

Podium,  front  of  a,  in  the  Lateran 
Museum,  1334. 

Pollaiuolo,  Antonio,  sculptor,  p.  289; 
Hercules  and  Antaeus,  model, 
in  the  Bargello,  2353;  bust  of  a 
young  warrior,  in  the  Bargello, 
2354. 

Polledrara  tomb,  statuette  of  a 
woman  from,  in  the  British 
Museum,  445. 

Polydoros,  sculptor,  843. 

Polyeuktos,  sculptor,  890. 

Polykleitos,  sculptor,  pp.  61,  78; 
Doryphoros,  statue  in  Naples, 
58^;  Diadumenos,  statue  from 
Vaison,  586;  ditto,  Farnese,  587; 
head,  from  the  Chigi  collection, 
in  Dresden,  588;  (?)  wounded 
Amazon,  in  Berlin,  389;  (?) 
same,  in  Lansdowne  House, 
590;  (?)  same,  head,  in  the  Brit- 
ish Museum,  591. 

Polyxene,  stele  of,  in  Athens,  614. 

Ponce,  Paul,  sculptor,  2078. 

Porch  of  the  Maidens,  from  the 
Erechtheion,  1203. 

Portland  vase,  in  the  British  Mu- 
seum, 1 168. 

Portraits,  fourth  century  B.  C.,  774- 
781. 

Poseidippos,  seated  statue  in  the 
Vatican,  893. 

Poseidon,  on  the  Parthenon  pedi- 
ment, 487:  on  the  Parthenon 
frieze,  east  side,  530;  statue 
from  Melos,  in  Athens,  81 1 ; and 
Amphitrite,  wedding  procession 


GENERAL  INDEX 


372 

of,  reliefs  in  Munich,  871;  re- 
lief on  the  Borghese  altar,  in 
the  Louvre,  994;  or  Zeus, 
statuette,  1109;  (?)  statuette, 
in  the  British  Museum,  iiio; 
hair  dedicated  to,  in  the  British 
Museum,  935. 

Pot,  Jean  le,  sculptor,  panels  of  the 
south  door  of  Beauvais  Cathe- 
dral, 2050,  2051. 

Pourtales  Apollo,  in  the  British 
Museum,  851. 

Praxiteles,  sculptor,  p.  98;  Hermes, 
in  Olympia,  691;  relief  copied 
from  same,  in  Mannheim,  692; 
head  of  Eubouleus  (?),  in 
Athens,  693;  ditto,  copy,  in 
Athens,  694;  Aphrodite  of  Kni- 
dos,  copy,  in  the  Vatican,  697; 
ditto,  copy,  in  Munich,  698; 
ditto,  copy  of  head,  in  Berlin, 
699;  Apollo  Sauroktonos,  copy, 
in  the  Vatican,  700;  ditto, 
bronze,  in  the  Villa  Albani,  701 ; 
satyr  (the  Marble  Faun),  in  the 
Capitoline  Museum,  702;  ditto, 
torso,  in  the  Louvre,  703;  Ar- 
temis Brauronia  (?),  copy,  in 
the  Louvre,  706;  Apollo  Ly- 
keios  (?),  copy,  in  the  Uffizi, 

Praying  boy,  in  Berlin,  735. 

Priest,  Egyptian,  head  of,  in  Berlin, 
46;  Roman,  statuette  in  Paris, 
1160. 

Prieur,  Barthelemy,  sculptor,  p.  308; 
statuette  of  Abundance,  in  the 
Louvre,  2499. 

Princess,  of  Urbino,  bust  of  a,  by 
Desiderio,  in  Berlin,  2268;  bust 
of  a Neapolitan,  by  Laurana,  in 
Berlin,  2313, 

Prophet,  head  of  a,  by  Donatello,  in 
the  Cathedral,  Florence,  2289; 
statuettes  on  the  Baptistery 
doors,  Florence,  2306;  statuettes 
on  the  Font  at  Siena,  235^; 
statuettes  on  the  St.  Sebald 
monument,  in  Nuremberg,  2555. 

Proserpine,  see  Persephone. 

Psamtik,  figures  from  the  tomb  of, 
at  Sakkara,  in  Cairo,  48-50. 

Psyche,  so  called,  fragment  of  a 
statue,  in  Naples,  751;  and 
Cupid,  group  by  Canova,  in 
Cadenabbia,  2438. 


Ptolemy,  Alexander,  so  called, 
bronze  bust  in  Naples,  1031; 
Lathyros,  so  called,  bronze 
bust  in  Naples,  1032;  1 Soter, 
so  called,  bronze  bust  in  Na- 
ples, 1033;  Philadelphos,  so 
called,  bronze  bust  in  Naples, 
1034. 

Pudicitia,  so  called,  statue  in  the 
Vatican,  981. 

Pugilist,  head  of  a,  in  Athens,  906. 

Pulpit,  by  Pisano,  in  Siena,  1810; 
in  Santa  Croce,  Florence,  by 
Benedetto  da  Maiano,  2241 ; by 
Jean  de  Rouen,  in  Coimbra, 
2490. 

Punt,  portrait  of  the  Queen  of,  in 
Cairo,  26. 

Puteal,  with  the  birth  of  Athena,  in 
Madrid,  508;  from  Corinth,  re- 
liefs from,  998. 

Pyrrhic  dance,  relief  in  the  Akropolis 
Museum,  927. 

Pyxis,  fragment  of  a,  found  near  the 
Palace  of  Knossos,  in  Candia, 
255- 

Quadriga,  on  the  tomb  of  Payava, 
in  the  British  Museum,  1234; 
relief,  in  Lisbon,  944. 

Queen  of  Punt,  portrait,  in  Cairo, 
26;  of  the  XVIII  dynasty, 
head  in  Cairo,  32;  Amenertais, 
statue  in  Cairo,  42. 

Quellin,  Arthur,  sculptor,  2164- 
2167. 

Quercia,  Jacopo  della,  sculptor, 
p.  289;  font  in  Siena,  2355;  the 
Trenta  altar,  in  Lucca,  2356; 
tomb  of  Ilaria  del  Carretto,  in 
Lucca,  2357;  sculptures  from 
the  doorway  of  S.  Petronio, 
Bologna,  2358  A-E. 

Raising  of  Lazarus,  relief  by  Ghi- 
berti, from  the  Baptistery 
door,  Florence,  2307  H. 

Rameses  11,  head,  in  Turin,  35; 
upper  part  of  a colossal  statue, 
in  the  British  Museum,  36;  up- 
per part  of  a statue  of,  from 
Elephantine,  in  the  British 
Museum,  37:  before  Hathor,  re- 
lief on  a stela,  in  Turin,  38; 
III,  portrait  in  sunken  relief, 
from  his  tomb  at  Thebes,  40. 


GENERAL  INDEX 


Rape  of  Ganymedes,  group  in  the 
Vatican,  755;  of  the  Palladium, 
detail  from  the  relief  of,  in 
Rome,  1255. 

Regnault,  Guillaume,  sculptor, 
p.  308;  tomb  of  the  children  of 
Charles  VIII,  in  Tours,  2500. 

Regulus,  on  the  tomb  of  Engelbert 
II,  in  Breda,  2580. 

Reliquary  in  the  Cathedral  of  Hil- 
desheim,  1496;  of  St.  Zenobius, 
in  Florence,  reliefs  by  Ghiberti, 
2308  A-D. 

Renaissance  architecture:  Italian, 
p.  253;  French,  p.  257;  Ger- 
man, p,  265;  Flemish,  p.  268; 
English,  p.  270;  Russian,  p.  270. 

Sculpture:  Italian,  p.  272;  French, 
p.  305;  German,  p.  31 1;  Flem- 
ish, p.  316. 

Resurrection  of  Christ,  relief  by 
Luca  della  Robbia,  in  Florence, 
2376;  small  relief  by  Veit 
Stoss,  in  Nuremberg,  2550  F; 
ditto,  in  the  “Rosary,”  2551. 

Ricchini,  architect,  1808. 

Rinaldo  de  Stauris,  architect,  2021. 

Rizzo,  Antonio,  sculptor,  p.  302; 
tomb  of  Pietro  Foscari,  in 
Rome,  2428. 

Rhamnos,  statue  of  Themis  from, 
in  Athens,  810. 

Rhyta  or  fillers,  prehistoric  Greek, 
from  the  Palace  of  Knossos,  in 
Candia,  291-294. 

Robespierre,  so  called,  bust  by 
Houdon  (?),  in  Versailles,  2508. 

Robbia,  Andrea  della,  sculptor, 
p.  291;  Annunciation,  in  Flor- 
ence, 2359;  four  infants,  in  Flor- 
ence, 2360-2363;  Madonna  of 
the  Architects,  in  the  Bargello, 
2364;  Madonna  adoring  the 
Child,  in  Florence,  2365;  Coro- 
nation of  the  Virgin,  in  Siena, 
2366;  Meeting  of  St.  Francis 
and  St.  Dominic,  in  Florence, 
2367;  Madonna  and  Child,  cir- 
cular relief,  in  the  Bargello, 
2368;  Madonna  and  Child  and 
Saints,  in  Florence,  2369. 

School  of.  Madonna  adoring  the 
Child,  in  Florence,  2370. 

Luca  della,  sculptor,  p.  292;  Sing- 
ing Gallery,  in  Florence,  2371; 
doors  in  the  Cathedral,  Flor- 


373 

ence,  2372;  tomb  of  Benozzo 
Federighi,  in  Florence,  2373; 
the  Virgin  and  St.  Elizabeth, 
in  Pistoia,  2374;  bust  of  a 
young  woman,  in  the  Bargello, 
2375;  Resurrection  of  Christ, 
in  Florence,  2376;  Tubal  Cain, 
on  the  Campanile,  Florence, 

School  of  the  della.  Visiting  the 
Sick,  and  Feeding  the  Poor,  re- 
liefs in  Pistoia,  2378  A,  B; 
Coronation  of  the  Virgin,  in 
Florence,  2379. 

Rodin,  Auguste,  sculptor,  p.  318; 
Le  Penseur,  in  Paris,  2607. 

Roma,  the  goddess,  on  the  Arch  of 
Constantine,  1267. 

Roman  period  of  classic  sculpture, 
p.  143;  architecture,  p.  190. 

School  of  Renaissance  sculpture: 
bust  of  Pope  Gregory  XIII,  in 
Berlin,  2424;  reliefs  of  the  An- 
nunciation, in  S.  M.  del  Popolo, 
Rome,  2425. 

Roman,  portrait  statue  of  a,  in  the 
Louvre,  967;  relief  bust  of  a, 
by  Donatello,  in  the  Louvre, 
2296. 

Romanesque  art,  Italian,  p.  210; 
French,  p.  21 1 ; German,  p.  214; 
Flemish,  p.  217;  English,  p.  217. 

Romano,  Gian  Cristoforo,  sculptor, 
p.  299;  part  of  the  Visconti 
monument,  in  Pavia,  2417  A; 
bust  of  Teodorina  Cibo,  in  Ber- 
lin, 2418. 

Romulus  and  Remus,  with  the 
Wolf  of  the  Capitol,  in  Rome, 
999;  relief  on  an  altar  from 
Ostia,  1007. 

Romulus,  temple  of,  at  Rome,  sec- 
tion of  a cornice  from.  1275. 

Rosary,  the,  by  Veit  Stoss,  in 
Nuremberg,  2551. 

Rose  pillar,  in  the  Lateran  Museum, 
1314;  window  in  St.  Lorenz, 
Nuremberg,  model,  1846. 

Rosetta  stone,  in  the  British  Mu- 
seum, 53. 

Rossellino,  Antonio,  sculptor,  p.  294; 
monument  of  Cardinal  Jacopo 
of  Portugal,  in  Florence,  2380; 
statue  of  St.  John  the  Bap- 
tist as  a child,  in  the  Bar- 
gello, 2381;  bust  of  Matteo 


374 


GENERAL  INDEX 


Palmieri,  in  the  Bargello,  2382; 
bust  of  an  unknown  man,  in 
Berlin,  2383;  bust  of  St,  John 
the  Baptist  as  a child,  in  Flor- 
ence, 2384;  Madonna  and 
Child,  in  the  Libri  collection, 
Paris,  2385;  ditto,  in  London, 
2386;  ditto,  in  the  Bargello, 
2387;  “Madonna  del  Latte,” 
in  Florence,  2388;  Madonna 
and  Child,  in  the  Via  della 
Spada,  Florence,  2389;  Worship 
of  the  Shepherds,  in  the  Bar- 
gello, 2390;  bust  of  Francesco 
Sassetti,  in  the  Bargello,  2391; 
bust  of  St,  John  the  Baptist,  in 
Faenza,  2392;  bust  of  the 
Christ  Child,  in  St,  Petersburg, 
2393;  ditto,  in  Florence,  2394; 
ditto,  in  relief,  in  the  Louvre, 
2395, 

Bernardino,  sculptor,  p,  295; 
head  from  the  effigy  of  Leo- 
nardo Bruni,  in  Florence,  2396, 
Rousseau,  Jean-Baptiste,  bust,  by 
Caffieri,  in  Paris,  2505, 

Rovere,  Cristoforo  della,  tomb  of, 
by  Bregno,  in  Rome,  2420, 
Rovezzano,  Benedetto  da,  see  Bene- 
detto da  Rovezzano, 

Russian  Renaissance  architecture, 
p,  270. 

Sabina,  so  called,  bust  in  the  Brit- 
ish Museum,  983, 

Sacrifice,  relief  of  a,  in  the  Vatican, 
954- 

Saint  Ambrose,  head  from  a statue 
by  Jacopo  della  Quercia,  in 
Bologna,  2358  B;  on  the  doors 
by  Luca  della  Robbia,  in  Flor- 
ence, 2372, 

Anthony,  statue  by  Donatello,  in 
Padua,  2282  A, 

Augustine,  on  the  doors  by  Luca 
della  Robbia,  in  Florence,  2372; 
in  a lunette  by  the  della  Robbia 
school,  in  Florence,  2379, 

Benedict,  in  a lunette  by  the 
della  Robbia  school,  in  Florence, 
2379, 

Bernward,  “Easter  column”  by, 
in  the  Cathedral  of  Hildesheim, 
1497; 

Catherine  of  Siena,  in  a relief  by 
J.  Sansovino,  in  Berlin,  2430. 


Cecilia,  relief  by  Desiderio,  in 
London,  2273. 

Dominic  meeting  St.  Francis,  by 
Andrea  della  Robbia,  in  Flor- 
ence, 2367;  on  a lunette  by 
Andrea  della  Robbia,  in  Flor- 
ence, 2369. 

Eligius,  forge  of,  relief  by  Veit 
Stoss,  2554. 

Elizabeth,  the  Virgin  visiting,  by 
Luca  della  Robbia,  in  Pistoia, 
2374. 

Francis,  receiving  the  stigmata, 
and  the  death  of,  on  the  pulpit 
in  Santa  Croce,  2241 ; statue  by 
Donatello,  in  Padua,  2282  A; 
meeting  St.  Dominic,  by  An- 
drea della  Robbia,  in  Florence, 
2367;  in  a relief  by  J.  Sanso- 
vino, in  Berlin,  2430. 

George,  statue  by  Donatello,  in 
the  Bargello,  2283;  and  the 
Dragon,  relief  by  Donatello, 
in  Florence,  2283;  ditto,  by 
Colombe,  in  the  Louvre,  2481. 

Gregory,  on  the  doors  by  Luca 
della  Robbia,  in  Florence,  2372; 
the  Great,  in  a lunette  by  the 
della  Robbia  school,  in  Flor- 
ence, 2379. 

Jacob,  in  a lunette  by  Andrea 
della  Robbia,  in  Florence,  2369; 
in  a relief  by  J.  Sansovino,  in 
Berlin,  2430. 

Jerome  at  prayer,  relief  by  De- 
siderio, in  Dorpat,  2277;  relief 
on  the  Trenta  altar  by  Jacopo 
della  Quercia,  in  Lucca,  2356; 
on  the  doors  by  Luca  della  Rob- 
bia, in  Florence,  2372. 

John  the  Baptist,  as  a child, 
statue  by  Benedetto  da  Mai- 
ano,  in  the  Bargello,  2243;  ador- 
ing Christ,  relief  by  Desiderio, 
in  Paris,  2278;  bronze  statue 
by  Donatello,  in  Siena,  2285; 
marble  statue  by  Donatello,  in 
the  Bargello,  2287;  head  from 
a statue  by  Donatello,  on  the 
Campanile,  Florence,  2291; 
young,  statue  by  Michelangelo, 
in  Berlin,  2319;  young,  bust  by 
Mino  da  Fiesole,  in  the  Louvre, 
2344;  on  the  doors  by  Luca 
della  Robbia,  in  Florence,  2372; 
in  a lunette  by  the  della  Rob- 


GENERAL  INDEX 


bia  school,  in  Florence,  2379; 
as  a child,  statue  by  Antonio 
Rossellino,  in  the  Bargello, 
2381;  as  a child,  bust  by  An- 
tonio Rossellino,  in  Florence, 
2384;  as  a boy,  bust  by  A. 
Rossellino,  in  Faenza,  2392;  as 
a child,  statue  by  Dubois,  in 
the  Luxembourg,  2601;  history 
of,  on  the  Font  at  Siena, 
^355- 

John  the  Evangelist,  in  a lunette 
from  the  choir  screen  at  Enk- 
huizen,  2174  C;  relief  by  Bene- 
detto da  Maiano,  in  Siena, 
2248  D;  on  the  doors  by  Luca 
della  Robbia,  in  Florence,  2372; 
and  his  school,  relief  by  Bel- 
lano  (?),  in  Berlin,  2426;  relief 
in  Chantilly  by  Goujon,  2487 
D;  symbol  of,  by  Donatello,  in 
Padua,  2282  L. 

Joseph,  on  the  tympanum  of 
Freiberg,  1479. 

Lorenzo,  bust  by  Donatello,  in 
Florence,  2295;  on  the  Trenta 
altar  by  Jacopo  della  Quercia, 
in  Lucca,  2356. 

Lucia,  on  the  Trenta  altar  by 
Jacopo  della  Quercia,  in  Lucca, 
2356;  in  a lunette  by  the  della 
Robbia  school,  in  Florence, 
2379. 

Luke,  relief  by  Benedetto  da 
Maiano,  in  Siena,  2248  C;  on 
the  doors  by  Luca  della  Robbia, 
in  Florence,  2372;  relief  in 
Chantilly,  by  Goujon,  2487  C; 
symbol  of,  by  Donatello,  in 
Padua,  2282  K,  See  also  2 1 74  A. 

Mark,  in  a lunette  of  the  choir 
screen  at  Enkhuizen,  2174  B; 
relief  by  Benedetto  da  Maiano, 
in  Siena,  2248  B;  by  Ghiberti, 
relief  from  the  Baptistery  door, 
Florence,  2307  C;  relief  by 
Goujon,  in  Chantilly,  2487  B; 
symbol  of,  by  Donatello,  in 
Padua,  2282  J. 

Matthew,  relief  by  Benedetto  da 
Maiano,  in  Siena,  2248  A;  on 
the  doors  by  Luca  della  Robbia, 
in  Florence,  2372;  relief  by 
Goujon,  in  Chantilly,  2487  A; 
symbol  of,  by  Donatello,  in 
Padua,  2282  I.  See  also 


375 

Nicholas,  Bishop  of  Myra,  life  of, 
on  the  baptismal  font  in  Win- 
chester, 1556. 

Peter,  in  a lunette  by  the  della 
Robbia  school,  in  Florence, 
2379. 

Petronius,  head  from  a statue  by 
Jacopo  della  Quercia,  in  Bo- 
logna, 2358  A. 

Regulus,  head  by  Civitali,  in 
Lucca,  2237, 

Romanus,  relief  of,  by  Civitali, 
in  Lucca,  2260. 

Sebald,  tomb  of,  by  Peter  Vischer, 
in  Nuremberg,  2555. 

Sigismond,  on  the  Trenta  altar 
by  Jacopo  della  Quercia,  2336. 

Veronica,  Christ’s  meeting  with, 
by  Adam  Krafft,  in  Nurem- 
berg, 2343. 

Zenobius,  reliefs  from  the  reli- 
quary of,  by  Ghiberti,  in  Flor- 
ence, 2308  A-D. 

Salutati,  Leonardo,  monument  of, 
by  Mino  da  Fiesole,  in  Fiesole, 
2338. 

Samos,  archaic  statue  of  Hera  (?) 
from,  in  the  Louvre,  330. 

Samothrake,  relief  from,  in  the 
Louvre,  371;  Nike  of,  in  the 
Louvre,  809. 

Samson,  statuette  from  the  pulpit 
in  the  Baptistery,  Pisa,  1809  A; 
statuette  on  the  St,  Sebald 
monument,  in  Nuremberg,  2333, 

Sansovino,  Andrea,  panels  from  the 
tombs  of  Girolamo  Basso  and 
Sforza,  in  Rome,  2023  A-C, 
2026  A,  B. 

Jacopo,  sculptor,  p.  302;  group  of 
Bacchus  and  a faun,  in  the  Bar- 
gello, 2429;  relief  of  the  Ma- 
donna and  Child  and  Saints,  in 
Berlin,  2430. 

Sappho  (?)  and  Alkaios,  on  a relief 
from  Melos,  in  the  British  Mu- 
seum, 387;  head,  in  the  Villa 
Albani,  781;  so  called,  bronze 
bust  in  Naples,  1036. 

Saracenic  art,  p.  222. 

Saragossa,  model  of  the  doorway  of 
the  Cathedral,  in  the  Armeria 
Real,  Madrid,  1919. 

Sarcophagus  of  Khufu-Ankh,  side 
of,  in  Cairo,  5;  Egyptian,  found 
at  Sidon,  in  the  Louvre,  43; 


GENERAL  INDEX 


376 

Greek,  from  Sidon,  in  Constan- 
tinople, 654;  portion  of  a Greek, 
in  Vienna,  655;  from  Crete, 
moulding  from,  in  the  British 
Museum,  1329;  of  L.  C.  Scipio 
Barbatus,  in  the  Vatican, 
model  of,  1355;  end  of  an  Early 
Christian,  in  Milan,  1401;  tym- 
panum of  an  Early  Christian,  in 
Milan,  1402;  end  of  an  Early 
Christian,  sculptured,  in  the 
Lateran  Museum,  1406)  end  of 
a,  of  the  Carlovingian  era,  in 
Lorsch,  1513;  part  of  a Renais- 
sance, inTortona,  2032;  Renais- 
sance, detail  by  Benedetto  da 
Rovezzano,  in  Florence,  2249; 
of  Tartagni,  in  Bologna,  2304. 
See  also  Tombs. 

Sargon,  King,  stele  of,  found  at 
Kition,  in  Berlin,  108;  frag- 
ment of  threshold  from  the 
Palace  of,  at  Khorsabad,  in  the 
Louvre,  145. 

Sassetti,  Francesco,  bust  of,  by  A. 
Rossellino,  in  the  Bargello, 
2391. 

Satyrs.  Statues:  in  the  Capitoline 
Museum,  the  “Marble  Faun," 
702;  torso,  in  the  Louvre,  703; 
pouring  wine,  in  Dresden,  710; 
sleeping,  the  “ Barberini  Faun,” 
in  Munich,  830;  the  Borghese, 
in  Rome,  83 1 ; playing  the 
scabellum,  in  the  Uffizi,  832; 
and  goat,  in  the  Capitoline 
Museum,  835;  a drunken,  in 
Naples,  1049;  resting,  bronze, 
in  Naples,  1057;  bearded, 
bronze,  in  Naples,  1065-1068; 
leaping,  bronze,  in  Naples,  1069. 

Statuettes:  in  Paris,  1148;  in  the 
Louvre,  1149;  in  Berlin,  1150, 

1 1 5 1 ; starting  back,  in  the 
British  Museum,  1 152;  drawing 
a thorn  from  his  foot,  1 153. 

Busts:  of  a youthful,  in  Munich, 
857;  in  the  British  Museum, 
858. 

Reliefs:  on  a frieze  from  Xanthos, 
in  the  British  Museum,  378  A.; 
on  the  Pergamon  altar  frieze, 
793;  Hellenistic,  in  the  British 
Museum,  873;  ditto,  in  Naples, 
874:  and  maenad,  in  Rome,  879; 
on  the  vase  of  Sosibios,  in  the 


Louvre,  1002;  on  the  Borghese 
vase,  in  the  Louvre,  1003;  on  a 
krater  in  the  British  Museum, 
1005;  on  a round  altar  in  the 
Louvre,  1008;  on  the  frieze  of 
the  Choragic  monument  of 
Lysikrates,  1237;  with  Diony- 
sos, in  the  British  Museum, 
1357;  and  a maenad  with 
Dionysos,  in  the  British  Mu- 
seum, 1358;  drinking  from  a 
basin,  relief  in  the  Louvre,  1362. 

Miscellaneous:  at  the  intersection 
of  Gothic  mouldings,  fragment 
in  the  Ecole  des  Beaux-Arts, 
1751;  mask,  by  Michelangelo 
(?),  in  the  Bargello,  2335. 

See  also  Faun. 

Saxon  details,  1537-1540. 

Scabellum,  satyr  playing  a,  statue 
in  the  Uffizi,  832. 

Scandinavian  art,  p.  220. 

Scipio  Africanus,  (?)  bronze  bust 
in  Naples,  1038. 

Sculpture,  modern,  p.  317. 

Sea  deities,  on  the  Pergamon  altar, 
791. 

Seat  of  the  priest  of  Dionysos,  in 
the  Dionysiac  Theatre,  Athens, 
1343. 

Selene,  on  the  Parthenon  pediment, 

. 483- 

Selinus,  Perseus  metope  from,  in 
Palermo,  394. 

Senault,  Guillaume,  architect,  2070- 
2075. 

Seneca,  so  called,  bust,  in  the 
Uffizi,  907;  and  Sokrates,  double 
bust,  in  Berlin,  973;  so  called, 
bronze  bust,  in  Naples,  1019. 

Sennacherib,  fragment  of  threshold 
from  the  Palace  of,  in  the  Brit- 
ish Museum,  146. 

Sepulchral  chest  of  Cornelia  Ser- 
vanda, in  the  British  Museum, 
1010;  of  Vernasia  Cyclax,  in  the 
British  Museum,  ion;  of  Silia 
Attica,  in  the  British  Museum, 
1012. 

Serapis,  colossal  bust,  in  the  Vati- 
can, 850;  head,  in  Cassel,  1 1 1 1. 

Seti  I at  war  with  the  Bedouins  at 
Canaan,  relief  in  the  Temple, 
Karnak,  34;  II  with  ernblem 
of  Khnum,  seated  statue,  in  the 
British  Museum,  39. 


GENERAL  INDEX 


Settignano,  Desiderio  da,  see  De- 
siderio  da  Settignano. 

Sforza,  Ascanio  Maria,  panels  from 
the  tomb  of,  in  Rome,  2025  A, 
B;  family,  busts  in  Pavia, 
2413,  2414;  Lodovico  il  Moro, 
bust  of,  by  Solario,  in  Pavia, 
241Q. 

Sheik  el-Beled,  statue  of,  in  Cairo, 
4- 

Shepherds,  Worship  of  the,  relief 
by  A.  Rossellino,  in  the  Bar- 
gello,  2390. 

Shield  of  Athena  Parthenos,  frag- 
ment of  a copy,  in  the  British 
Museum,  540;  of  the  Gianfig- 
liazzi  family,  by  Desiderio,  in 
Florence,  2280;  of  the  Spinelli 
family,  by  Brunelleschi,  in 
Florence,  2253. 

Sidon,  Egyptian  sarcophagus  found 
at,  in  the  Louvre,  45;  Greek 
sarcophagus  from,  in  Constan- 
tinople, 054. 

Silenos  and  the  infant  Dionysos, 
group  in  the  Louvre,  829;  in 
a Hellenistic  relief,  in  the  Brit- 
ish Museum,  873;  in  a relief  of 
Dionysos  and  Ariadne,  in  the 
Vatican,  876;  relief  on  the 
Borghese  vase,  in  the  Louvre, 
1003;  lamp  stands  in  the  form 
of,  in  Naples,  1173,  1 174;  on  a 
Roman  table-leg,  1352. 

Silia  Attica,  sepulchral  chest  of,  in 
the  British  Museum,  1012. 

Singing  Gallery,  reliefs  from  the,  by 
Donatello,  in  Florence,  2297 
A-C;  by  Luca  della  Robbia,  in 
Florence,  2371. 

Sirens,  on  the  Harpy  tomb,  in  the 
British  Museum,  376;  on  a 
tomb  from  Xanthos,  in  the 
British  Museum,  382;  on  a 
small  pillar,  in  Athens,  1342. 

Skeiron,  on  a metope  from  the 
Theseion,  Athens,  542. 

Skopas,  sculptor,  pp.  98,  104;  sculp- 
tures from  Tegea,  in  Athens, 
716-721;  Meleager  and  his  dog, 
copy,  in  the  Vatican,  722; 
Apollo  playing  the  lyre,  copy 
(?)  in  the  Vatican,  725;  the 
Niobe  group,  726-728;  the 
Mausoleum,  739-744. 

Sluter,  Claux,  sculptor,  see  2501. 


377 

Smikylion,  part  of  the  stele  of,  in 
the  British  Museum,  672. 

Snake  goddess  from  the  Temple  of 
Knossos,  in  Candia,  257. 

Sokrates,  death  of,  so  called,  grave 
relief  in  Athens,  645;  bust,  in 
the  Vatican,  899;  and  Seneca, 
double  bust,  in  Berlin,  973. 

Solari,  Guiniforte,  architect,  1808. 

Solario,  Cristoforo,  sculptor,  p.  300; 
busts  of  Lodovico  il  Moro  and 
Beatrice  d’Este,  in  Pavia,  2419 
A,  B. 

Solomon,  King,  and  the  Queen  of 
Sheba,  relief  of,  on  the  Bap- 
tistery doors,  Florence,  2306. 

Sophokles,  statue  in  the  Lateran 
Museum,  775;  (?)  bust,  in  the 
British  Museum,  776. 

Sosibios,  vase  of,  in  the  Louvre, 
1002. 

Sosikrates,  stele  of,  in  the  Keramei- 
kos,  668. 

Sozzino,  Mariano,  effigy  of,  by  Vec- 
chietta,  in  the  Bargello,  2397. 

Spanish  Gothic  architecture,  p.  247. 

Sphinx,  in  relief  on  a Phoenician 
slab,  in  the  Louvre,  214;  ar- 
chaic, from  Assos,  in  the 
Louvre,  357,  368;  ditto,  in  Bos- 
ton, 369;  archaic,  from  Xan- 
thos, in  the  British  Museum,  381 
A,  B;  on  the  tomb  of  Payava, 
in  the  British  Museum,  1234;  on 
a table  support,  in  the  Later- 
an Museum,  1345;  perhaps  a 
Roman  table-support,  in  the 
British  Museum,  1346;  terra- 
cotta relief,  in  Paris,  1368;  on  a 
terracotta  antefix,  1379. 

Spinario,  the,  in  Rome,  456. 

Spinelli,  coat  of  arms  of  the,  by 
Brunelleschi,  in  Florence,  2253. 

Stagi,  Stagio,  sculptor,  2022. 

Stations  of  the  Cross,  fourth  and 
seventh,  by  Adam  Krafft,  in 
Nuremberg,  2543,  2544. 

Stela,  with  Rameses  11  before  Ha- 
thor,  in  Turin,  38;  with  the 
“ Decree  of  Canopus,”  in  Cairo, 
52;  the  “ Rosetta  stone,”  in  the 
British  Museum,  53;  Phoeni- 
cian, from  Hadrumetum,  in  the 
Louvre,  216. 

Stelae,  grave,  p.  85;  see  Grave 
monuments. 


GENERAL  INDEX 


378 

Stephanos,  sculptor,  p.  144;  statue 
of  a youth,  in  Rome,  937. 

Sterope,  on  the  Olympia  pediment, 
468. 

Stoss,  Veit,  sculptor,  p.  312;  kneel- 
ing angels,  in  Nuremberg, 
2548,  2549;  Seven  Joys  of  the 
Virgin,  in  Nuremberg,  2550 
A-G;  the  Rosary,  in  Nurem- 
berg, 2551;  the  Betrayal  of 
Christ,  in  Nuremberg,  2552; 
effigy  of  a saint,  in  Nuremberg, 
2553;  forge  of  St.  Eligius,  for- 
merly in  Nuremberg,  2554. 

Strangford  Apollo,  in  the  British 
Museum,  429. 

Strozzi,  Filippo,  bust  of,  by  Bene- 
detto da  Maiano,  in  the  Louvre, 
2245;  Marietta,  bust  by  De- 
siderio,  in  Berlin,  2267;  Nic- 
colo,  bust  of,  by  Mino  da  Fie- 
sole,  in  Berlin,  2340. 

Stymphalian  birds,  on  the  Olympia 
metope,  472. 

Sulla,  so  called,  bronze  busts,  in 
Naples,  1039,  1040. 

Sybrandszoon,  Diderik,  panels  by, 
in  Haarlem,  1861,  1862. 

Syrian!,  scroll  decoration  from  the 
monastery  of,  in  Berlin,  1261. 

Syrlin,  Jorg,  panels  by,  in  Ulm 
Cathedral,  1847-1849. 

Tabernacle,  by  Mino  da  Fiesole, 
in  Florence,  2345;  ditto,  in 
Rome,  2346;  by  Bregno,  in  Ber- 
lin, 2421. 

Table-legs,  Roman,  1347-1353. 

Table-supports,  from  Pompeii,  1344; 
in  the  Lateran  Museum,  1345; 
(?)  from  Lanuvium,  in  the  Brit- 
ish Museum,  1346. 

Tablets,  with  linear  script,  from  the 
Palace  of  Knossos,  in  Candia, 
296,  297. 

Taharka,  head  from  a statue  of,  in 
Cairo,  43. 

Talthybios,  on  a relief  from  Samo- 
thrake,  in  the  Louvre,  371. 

Tarentum,  head  of  a youth  from,  in 
Berlin,  860. 

Tartagni,  Alessandro,  details  from 
the  monument  of,  in  Bologna, 
2304  A-C. 

Tegea,  sculptures  from  the  Templeof 
Athena  at,  in  Athens,  716-721, 


Telephos,  the  infant,  on  the  Per- 
gamon  altar  frieze,  802. 

Temptation  on  the  Mount,  relief  by 
Ghiberti,  from  the  Baptistery 
door,  Florence,  2307  G. 

Tenea,  Apollo  of,  in  Munich,  396. 

Terracotta  mural  reliefs,  1356-1375. 

Tethys  (?),  on  the  Pergamon  altar 
frieze,  791. 

Texier,  Jean,  sculptor,  1705-1709. 

Thalassa,  on  the  Parthenon  pedi- 
ment, 491. 

Thanatos,  on  a drum  from  Ephesos, 
in  the  British  Museum,  737. 

Thasos,  reliefs  from,  in  the  Louvre, 
451. 

Themis,  statue,  in  Athens,  810. 

1 heophile,  part  of  the  stele  of,  in 
Athens,  673. 

Theseion,  metopes  from  the,  541, 
542. 

Theseus,  on  the  Parthenon  pedi- 
ment, 478;  on  metopes  from  the 
Theseion  at  Athens,  541,  542; 
with  Dionysos  and  Ariadne,  re- 
lief in  the  Vatican,  875. 

Thinker,  the,  by  Rodin,  in  Paris, 
2607. 

Thotmes  111,  head  from  a statue  of, 
in  Turin,  27. 

Thrasyllos,  detail  from  the  Chor- 
agic  monument  of,  in  Athens, 
1252. 

Throne  in  the  Palace  of  Knossos, 
281;  in  the  Dionysiac  theatre, 
Athens,  1343. 

Thucydides  and  Herodotos,  herma 
of,  in  Naples,  778. 

Ti,  reliefs  from  the  tomb  of,  at  Sak- 
kara,  7-19. 

Tiberius,  Emperor,  on  the  Paris 
cameo,  1017. 

Timotheos,  sculptor,  683-687;  see 
also  739-744- 

Titus,  relief  from  the  arch  of, 
942. 

Tivoli,  sculptures  found  at.  Statues: 
Roman  copy  of  the  Diskobolos, 
in  the  British  Museum,  560; 
Dionysos,  in  Rome,  599;  Ama- 
zon, in  the  Capitoline  Museum, 
607;  Herakles,  in  Lansdowne 
House,  London,  723;  Apollo,  in 
the  Vatican,  725;  Hermes,  in 
London,  734;  torso  of  a Triton, 
in  the  Vatican,  812;  Aphrodite, 


GENERAL  INDEX 


in  the  Vatican,  817;  Eros,  in 
the  Capitoline  Museum,  825; 
satyr  and  goat,  in  the  Capitoline 
Museum,  S^y,  a woman  carry- 
ing a vase,  m Rome,  941;  An- 
tinous,  in  the  Capitoline  Mu- 
seum, 984. 

Busts:  Pherekydes,  so  called,  in 
Madrid,  449;  Perikles,  in  the 
British  Museum,  574;  male 
head,  in  the  British  Museum, 
808;  Menelaos,  in  the  Vatican, 
853;  Alexander  the  Great,  in 
the  Louvre,  904. 

Reliefs:  a youth  holding  his  horse, 
in  the  British  Museum,  467; 
Dionysos  and  Ariadne,  in  the 
Vatican,  875;  Antinous,  in  the 
Villa  Albani,  986. 

Tomb  of  Payava,  in  the  British  Mu- 
seum, 1234, 

Tombs,  Renaissance:  of  Carlo  Mar- 
suppini,  in  Florence,  2266;  de- 
tails from  the  Medici,  in  Flor- 
ence, 2314,  2315  A,  B;  of 
Bishop  Leonardo  Salutati,  in 
Fiesole,  2338;  of  llaria  del  Car- 
retto,  in  Lucca,  2357;  of  Ben- 
ozzo  Federighi,  in  Florence, 
2373;  of  Cardinal  Jacopo  of 
Portugal,  in  Florence,  2380;  de- 
tails of  the  tomb  of  Gaston  de 
Foix,  in  Milan,  2415  A-J;  end 
of  the  Visconti  monument,  in 
Pavia,  2417  A;  of  Cardinal 
Cristoforo  della  Rovere,  in 
Rome,  2420;  of  Cardinal  Pietro 
Foscari,  in  Rome,  2428;  detail, 
of  Franfois  II  of  Brittany,  in 
Nantes,  2482;  of  the  children  of 
Charles  VI 1 1,  in  Tours,  2500;  of 
Admiral  Philippe  de  Chabot,  in 
the  Louvre,  2502;  of  St,  Sebald, 
in  Nuremberg,  2355;  of  Johann 
Cicero  and  Joachim  I of 
Brandenburg,  in  Berlin,  2556; 
of  Count  Hermann  VIII  of 
Henneberg,  in  Romhild,  2557; 
of  Count  Engelbert  II  of  Nas- 
sau, in  Breda,  2380. 

Torso  of  the  Belvedere,  in  the  Vat- 
ican, 841, 

Townley  Amazon  head,  391. 

Trajan,  Column  of,  relief  from,  943; 
sections  of  moulding  from,  1327, 
1328. 


379 

Forum  of,  fragments  from,  1300- 
1302. 

Treasury  of  Atreus,  fragments  from, 
in  the  British  Museum,  342- 
344;  of  Minyas,  fragment  from, 
343;  of  the  Megarians,  pedi- 
ment of,  in  Olympia,  401. 

Trenta  altar,  retable  from  the,  by 
Jacopo  della  Quercia,  in  Lucca, 
2336. 

Triptolemos,  (?)  on  the  Parthenon 
frieze,  east  side,  530;  on  the 
Eleusinian  slab,  in  Athens,  377. 

Trireme,  section  of  a,  relief  in 
Athens,  930. 

Triton,  in  contest  with  Herakles,  on 
a frieze  from  Assos,  in  the 
Louvre,  361;  torso  in  the  Vat- 
ican, 812;  in  the  wedding  pro- 
cession of  Poseidon  and  Am- 
phitrite,  in  Munich,  871. 

Triton  shell  from  the  Palace  of 
Knossos,  in  Candia,  289. 

Tubal  Cain,  relief  on  the  Campanile, 
Florence,  by  Luca  della  Robbia, 

2377- 

Turpin,  lean,  wood  carver,  1683, 
1684. 

Tuscan  school  of  sculpture,  p,  272. 

Tyrannicides,  in  Naples,  447,  448. 

Urn,  cinerary,  Etruscan,  in  Berlin, 
1173;  Italic,  in  Berlin,  1176; 
Italic,  unidentified,  1177. 

Varvakeion  Athena,  in  Athens, 
531- 

Vase,  from  the  Palace  of  Knossos,  in 
Candia,  270,  283,  290;  of  Sosi- 
bios,  in  the  Louvre,  1002;  the 
Borghese,  in  the  Louvre,  1003; 
reliefs  from  the  Medici,  in  the 
Uffizi,  1004;  colossal,  in  Pisa, 
1006;  the  Mantuan,  in  Bruns- 
wick, 1 167;  the  Portland,  in  the 
British  Museum,  ii68;  Augus- 
tan period,  in  Berlin,  1169. 

Vassallettus,  architect,  1437,  1438. 

Vaugirard,  architect,  2092,  2093. 

Vecchietta,  sculptor,  p.  296;  effigy 
of  Mariano  Sozzino,  in  the  Bar- 
gello,  2397. 

Vekedamos,  grave  stele  of,  in 
Athens,  613. 

Venetian  school  of  Renaissance 
sculpture,  p,  301;  reliefs  of 


GENERAL  INDEX 


380 

angels  with  the  symbols  of  the 
Passion,  in  Venice,  2432;  ditto, 
in  Berlin,  2433;  monument  of 
Guidarello  Guidarelli,  in  Ra- 
venna, 2434;  relief  of  Madonna 
and  Child  and  donors,  in  Berlin, 
2435;  relief  of  God  the  Father 
blessing,  in  Berlin,  2436; 
prophet  heads  from  the  choir 
screen  in  the  Church  of  the 
Frari,  Venice,  2437 

Venus,  the  Esquiline,  in  Rome,  457; 
Genetrix,  in  the  Louvre, 
of  Melos,  in  the  Louvre,  743;  of 
Capua,  in  Naples,  746;  of  the 
Capitol,  818;  relief  on  an  altar 
from  Ostia,  1007.  See  also 
Aphrodite. 

Vernasia  Cyclax,  sepulchral  chest  of, 
in  the  British  Museum,  1011. 

Verrocchio,  sculptor,  p.  296;  eques- 
trian statue  of  Colleoni,  in 
Venice,  2398;  statue  of  David, 
in  the  Bargello,  2399;  boy  with 
a fish,  in  Florence,  2400;  boy 
on  a globe,  in  Paris,  2401 ; bust 
of  a young  woman  with  a 
flower,  in  the  Bargello,  2402; 
bust  of  Piero  di  Lorenzo  de' 
Medici  (?),  in  the  Bargello, 
2403;  relief  of  Cosimo  de’ 
Medici  the  elder,  in  Berlin, 
2404;  relief  of  Beatrice  of  Ara- 
gon, in  Berlin,  2403;  Madonna 
and  Child,  relief,  in  the  Bar- 
gello, 2406;  Entombment  of 
Christ,  relief  in  Berlin,  2407. 

Versailles.  Artemis  of,  in  the  Louvre, 
814. 

Vespasian  and  Titus,  temple  of,  in 
Rome,  section  of  the  entabla- 
ture of,  1270;  relief  from  the 
frieze  of,  1338. 

Vesta,  relief,  on  the  Borghese  altar, 
in  the  Louvre,  994. 

Temple  of,  at  Tivoli,  details  from, 
1 272. 

Vestalis  Maxima,  part  of  a portrait 
statue,  in  Rome,  979. 

Victory,  (?)  the  Laborde  head  from 
the  Parthenon,  493;  on  reliefs 
from  the  Temple  of  Nike  Ap- 
teros,  343-348,  330,  531:  of 
Paionios,  statue  in  Olympia, 
60 1 ; on  the  Arch  of  Constan- 
tine, 1267;  on  a Roman  console 


in  the  British  Museum,  1299; 
among  arabesques,  relief  in  the 
Louvre,  1364.  See  also  Hiko.. 

Vienna  cameo,  1018. 

Vignon,  P.,  architect,  2108. 

Villeroy,  details  of  a chimney-piece 
from  the  Chateau  of,  in  the 
Louvre,  2082  A-G. 

Vincitore,  Tommaso,  sculptor, 
p.  316;  tomb  of  Engelbert  II 
of  Nassau,  in  Breda,  2380. 

Virgin,  in  the  Annunciation  and 
Visitation,  on  the  lintel  of 
Chartres  Cathedral,  1697,  1698; 
Coronation  and  Glorification  of 
the,  relief  on  the  exterior  of 
Notre-Dame,  Paris,  1733,  1734; 
Death  and  Assumption,  relief 
by  Orcagna,  in  Florence,  1802 
A;  Coronation,  by  Andrea  della 
Robbia,  in  Siena,  2366;  visiting 
St.  Elizabeth,  by  Luca  della 
Robbia,  in  Pistoia,  2374;  Cor- 
onation, with  Saints,  by  the 
della  Robbia  school,  in  Flor- 
ence, 2379;  Seven  Joys  of  the, 
by  Veit  Stoss,  in  Nuremberg, 
2350  A-G;  scenes  from  the  life 
of  the,  in  the  Rosary  by  Veit 
Stoss,  in  Nuremberg,  2531; 
Coronation  of  the,  relief  by 
Peter  Vischer,  in  Erfurt,  2360. 
See  also  Christ,  scenes  from  the 
life  of,  etc.,  and  Madonna. 

Virtues,  statuettes  of  the,  on  the 
pulpit  in  the  Baptistery,  Pisa, 
1809  B;  on  the  Siena  pulpit, 
1810;  on  the  pulpit  in  Santa 
Croce,  Florence,  2241;  on  the 
font  at  Siena,  2333;  on  the  St. 
Sebald  monument  in  Nurem- 
berg, 2333. 

Vischer,  Hans,  sculptor,  p.  314; 
tomb  of  Johann  Cicero,  in  Ber- 
lin, 2336;  statuette  of  Apollo, 
in  Nuremberg,  2362. 

Peter,  sculptor,  p.  313;  fragment 
of  the  Rathaus  railing,  2133; 
tomb  of  St.  Sebald,  in  Nurem- 
berg. 2333;  tomb  of  Johann 
Cicero,  in  Berlin,  2336;  tomb 
of  Count  Hermann  VIII  of 
Henneberg,  in  Romhild,  2337; 
King  Arthur  of  England,  statue, 
in  Innsbruck,  2338;  monument 
of  Count  Otho  IV  of  Henne- 


GENERAL  INDEX 


38, 


berg,  in  Romhild,  2559;  relief 
of  the  Coronation  of  the  Virgin, 
in  Erfurt,  2560. 

Statuette  of,  on  the  St.  Sebald 
monument  in  Nuremberg,  2555. 

Peter,  the  younger,  sculptor, 
p.  314;  (?)  the  Nuremberg  Ma- 
donna, in  Nuremberg,  2561. 

Visconti  family,  busts  in  Pavia, 
2413;  Caterina,  portrait  bust,  by 
Briosco,  in  Pavia,  2414;  Gian 
Galeazzo,  part  of  the  monu- 
ment of,  in  Pavia,  2417  A;  bust 
of  same,  in  Pavia,  2417  B. 

Visitation  of  the  Virgin  to  Eliza- 
beth, Gothic  relief  from  a lintel 
in  Chartres  Cathedral,  1698; 
group  by  Luca  della  Robbia,  in 
Pistoia,  2374. 

Vitellius  Caesar,  relief  by  Giovanni 
da  Maiano,  in  Hampton  Court, 
2311. 

Vittoria,  Alessandro,  sculptor, 
p.  302;  bust  of  Pietro  Zeno,  in 
Berlin,  2431. 

Voltaire,  head  from  the  seated 
statue  of,  by  Houdon,  in  Paris, 
2506;  bust,  by  Houdon,  in  Ver- 
sailles, 2507. 

Votive  offerings,  from  the  Palace  of 
Knossos,  in  Candia,  260-265. 

Votive  reliefs,  p.  138;  archaic,  of 
Hermes  and  Aphrodite  with 
Eros,  from  Rosarno,  Calabria, 
389;  a youth  mounting  a 
chariot,  and  the  head  of  Her- 
mes, in  the  Akropolis  Mu- 
seum, 442,  443;  the  Mourning 
Athena,  in  Athens,  463;  to 

Athena,  in  Athens,  537;  to 

Zeus  Meilichios,  in  Berlin,  908; 
to  Zeus  Hypseistos,  in  Berlin, 
9c^:  of  Eutychia  to  Zeus  Hyp- 
seistos, in  Berlin,  910;  to  As- 
klepios,  in  Athens,  91 1;  to 

Asklepios,  in  the  Vatican,  912; 
to  Pan  and  the  nymphs,  in 

Athens,  913;  Apollo,  Artemis 
and  a worshipper,  in  Athens, 
914;  Apollo  and  two  muses,  in 
Athens,  915;  fragment  from 
Ikaria,  in  Athens,  916;  Herakles 
and  the  Muses,  in  Athens,  917; 
to  Kybele,  in  Berlin,  918; 
Hekate  (?)  with  a horse  and 
dog,  in  the  British  Museum, 


919;  to  the  nymphs  and  all  the 
gods,  in  Berlin,  920;  to  Eilei- 
thyia  (?),  in  the  British  Mu- 
seum, 921;  fragment  with  four 
figures,  in  Athens,  922;  a man 
and  a boy  adoring  a serpent,  in 
Berlin,  923 ; the  “ Apobates  ” re- 
lief, in  Athens,  924;  of  a victor 
in  a chariot-race,  in  Berlin,  925; 
reliefs  from  the  base  of  a statue, 
in  Athens,  926,  927;  two  horse- 
men, in  the  British  Museum, 
928;  a bull-fight,  in  the  British 
Museum,  929;  a section  of  a 
trireme,  in  Athens,  930;  sur- 
gical instruments,  in  Athens, 
931;  fragment  of  a vase  shaped 
object,  in  Athens,  932;  toilet 
articles,  in  the  British  Museum, 
933;  ditto,  of  Anthousa,  in  the 
British  Museum,  934;  two 
tresses  of  hair,  in  the  British 
Museum,  935. 

Vulcan,  see  Hephaistos. 

Warrior,  Persian,  reliefs  in  the 
British  Museum,  193,  194; 

archaic  head,  in  Olympia,  406; 
from  the  Aegina  pediments,  in 
Munich,  408-412,  4 14-4 17,  419- 
421 ; head  of  a,  Roman  copy,  in 
Munich,  430;  stele  of  a,  in  the 
Villa  Albani,  627;  ditto,  in  the 
Kerameikos,  630;  on  a lekythos, 
in  Athens,  649;  stele  of  a,  in  the 
British  Museum,  656;  resting, 
statue  in  the  Museo  delle 
Terme,  733;  from  Delos,  in 
Athens,  805;  the  Borghese,  in 
the  Louvre,  846;  bronze  statu- 
ettes, in  Olympia,  1094,  1096; 
Etruscan  statuette,  in  Flor- 
ence, 1097;  statuette,  in  Berlin, 
1098;  ditto,  in  Paris,  1 159;  Ro- 
man, on  the  Arch  of  Constan- 
tine, 1267;  Renaissance,  bust 
of  a young,  by  A.  Pollaiuolo,  in 
the  Bargello,  2354. 

Water  nymphs  by  Goujon,  in  the 
Louvre,  2485  A-D. 

Waterspout,  in  the  form  of  a lion's 
head,  in  Paris,  1187;  ditto,  in 
Olympia,  1188-1194;  in  the 
form  of  a mask  of  a man,  1340. 

Weimken,  Edo,  friezes  from  the 
monument  of, in  J ever, 2 1 28  A,  B. 


382  GENERAL  INDEX 


Werwe,  Claux  de,  sculptor,  p.  308; 
mourners  from  the  tomb  of 
Philippe  le  Hardi,  in  Dijon, 
2501  A-L. 

Wolf,  of  the  Capitol,  in  Rome,  999; 
with  Romulus  and  Remus,  re- 
lief on  an  altar  from  Ostia,  1 007. 

Woman.  Classic;  archaic  statue 
from  Delos,  in  Athens,  349; 
seated,  archaic,  from  Bran- 
chidae,  in  the  British  Museum, 
354;  archaic,  Etruscan  statuette, 
in  the  British  Museum,  445; 
seated,  on  a relief,  in  Athens, 
^80;  statue  from  Herculaneum, 
m Dresden,  754;  statue  of  a, 
carrying  a vase,  in  Rome, 
941. 

Renaissance:  bust  of  an  unknown, 
by  Laurana,  in  the  Louvre, 
2312;  bust  of  a young  Floren- 
tine, by  Mino  da  Fiesole,  in 
Berlin,  2343;  bust  of  a young, 
by  Luca  della  Robbia,  in  the 
Bargello,  2375;  a young,  with  a 
flower,  bust  by  Verrocchio,  in 
the  Bargello,  2402;  bust  of  a 
young,  Florentine  school,  in  the 
Louvre,  2408. 

Works  of  Mercy,  two  of  the,  by  the 
della  Robbia  school,  in  Pistoia, 
2378  A-B. 

Worship  of  the  Shepherds,  relief  by 
A.  Rossellino,  in  the  Bargello, 
2390. 

Wrestlers,  group  in  the  Uffizi,  845. 

Xanthippos,  stele  of,  in  the  British 
Museum,  628. 

Xanthos,  archaic  sculptures  from, 
in  the  British  Museum,  376- 
382;  sculptures  and  details 
from  the  Nereid  monument  in, 
554-559,  1232,  1233;  detail  of 
Lycian  architecture  from,  in  the 
British  Museum,  1235. 

Xerxes,  friezes  from  the  Great  Hall 
of,  at  Persepolis,  185,  186;  por- 
trait of  (?),  on  a relief  from 
Persepolis,  187;  inscription  of, 
in  the  Palace  of  Darius  at  Per- 
sepolis, 188. 

Youth,  head  of  a,  from  Epidauros, 
in  Athens,  398;  or  Aphrodite, 


head  from  Kythera,  in  Berlin, 
400;  head,  archaic,  in  Rome, 
428;  mounting  a chariot,  relief 
in  Athens,  442;  holding  his 
horse,  relief  in  the  British  Mu- 
seum, 467;  head,  in  the  Akropo- 
lis  Museum,  576;  statue,  in 
Rome,  611;  head  on  a grave  re- 
lief. in  Berlin,  615;  with  a hare 
and  an  apple,  on  a stele  in 
Athens,  610;  stele  of,  with  his 
slave  and  animals,  in  Athens, 
622;  head,  style  of  Skopas,  730; 
from  Subiaco,  statue  in  Rome, 
758;  statue  of  a,  crowning  him- 
self, in  Athens,  760;  head  from 
Tarentum,  in  Berlin,  860;  head, 
called  Alexander  the  Great,  in 
the  British  Museum,  905;  statue 
by  Stephanos,  in  Rome,  937; 
statue,  Roman  period,  in 
Athens,  938;  head  of  a Roman, 
in  Berlin,  990;  bronze  bust, 
Lysippian  type,  in  Naples, 
1023;  ditto,  Polykleitan  type, 
in  Naples,  1024;  bronze  por- 
trait bust  of  a,  in  Naples,  1030; 
bronze  bust  of  a,  wreathed,  in 
Naples,  1037;  statuette,  reclin- 
ing, in  Olympia,  1093;  a crouch- 
ing, by  Michelangelo  (?),  in  St. 
Petersburg,  2329. 


Zar,  Jan  de,  sculptor,  p.  316;  busts 
of  Wilibald  and  Anna  ImhofF, 
in  Berlin,  2581,  2582. 

Zeno,  bronze  bust  in  Naples,  Ro- 
man, 1048. 

Pietro,  bust  of,  by  Vittoria,  in 
Berlin,  2431. 

Zeus.  Statues:  on  the  Olympia 
pediment,  468;  or  Asklepios,  in 
Dresden,  581. 

Statuettes:  archaic  Greek,  in 

Olympia,  1073;  ditto  in  Arol- 
sen,  1074;  hurling  a thunder- 
bolt, archaic,  in  Olympia,  1075; 
standing,  in  Munich,  1105; 
seated,  formerly  in  the  Denon 
and  PourtaRs  collections,  1106; 
bronze,  in  the  Louvre,  1107, 
II 08;  or  Poseidon,  unidentified, 
1 109. 

Busts:  (?)  bearded,  in  Olympia, 
405;  in  St.  Petersburg,  761;  (?) 


GENERAL  INDEX 


in  the  British  Museum,  762;  in 
the  Louvre,  993, 

Reliefs:  on  the  Parthenon  frieze, 
east  side,  530;  on  the  Per- 
gamon  altar  frieze,  799;  in  the 
apotheosis  of  Homer,  in  the 
British  Museum,  883;  from  a 
sarcophagus,  in  the  British  Mu- 
seum, 950;  on  the  Borghese 
altar,  in  the  Louvre,  994. 

Hypseistos,  votive  relief  to,  of 
Eisidote,  in  Berlin,  909;  dit- 


383 

to,  of  Eutychia,  in  Berlin, 
910. 

Meilichios,  votive  relief  to,  in  Ber- 
lin, 908. 

Zeus,  Temple  of,  at  Olympia,  p.  57. 
Zodiac,  animals  of  the,  in  the 
Athenian  calendar,  in  Athens, 
887;  signs  of  the,  in  the 
Porch  of  St.  Firmin,  at 
Amiens,  i68o;  ditto,  models  for 
panels  by  Goujon,  in  Paris, 
2486  A-L. 


GETTY  CENTER  LIBRARY 


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